LIBRARY OF CONGRESS. 




3 



Philosophic Elocution: 
voice culture. 

A TREATISE ON THE STRUCTURE, DEVELOPMENT 
AND THOROUGH 

CULTIVATION OF THE VOICE 

For Oratory, Reading, etc. 

Cure of Stuttering, Stammering, Lisping, Clergy- 
man's Sore Throat, etc. 
WITH APPROPRIATE EXERCISES, PRAXIS AND SELECTIONS. 



V 
BY JAMES J. VANCE, LL. D. 

Barrister at Law, Etc. 
Prof, of Elocution, &-°c, Union Theological Seminary, Va. 

tl 3 

"Fiunt Oratores." 

„AMt\ bcx Bjforfrag madjt 5es %ebnets 6 fit eft." 



%y.STD vJyJ 



BALTIMORE: / 

Press of The Sun Printing Office. 



TIH-i" 



Entered According to Act of Congress in the Year 1882, 

BY JAMES J. VANCE, LL. D. 

In the Office of the Librarian of Congress, at Washington. 



PREFACE. 



TO TEE READER : 

r 

The principal purpose in the publication of this treatise in 
separate form is to supply to the author and his pupils, students 
and others in large classes, an approved manual or textbook on 

VOICE CULTURE, 
and to this, as the grand essential of Elocution, it is confined. 

A practical, comprehensive and instructive treatment of the 
subject of Voice, its structure, development and easy man- 
agement is, in my estimation, still wanting among books on this 
science, and while approving much that has been written on 
this and other features of Elocution by Messieurs Rush, Russel, 
Murdoch, Vandenhoff, Raymond, Mcllvaioe, Lewis, Mrs. Taverner 
Graham, and very few others, there is much elsewhere to which 
I would not assent — much that were better unwritten. 

To voice culture, this special and most desirable study of the 
orator or reader, it appears to me too little attention is given. 
Not that I wish to make a hobby of this, for, to the scholarly 
instructor, the other and more intellectual parts are much the 
more pleasing work, but that I would denounce the neg'ect of this 
for the more empiric process of " piece reading," and what some 
teachers call " principles." 

Philosophy and true principles of the science are of course 
invaluable when properly taught, as they sometimes are. Yet 
they often become comparatively valueless because of the mis- 



PREFACE. 



management of voice, or as frequently from absolute failure of 
voice quality and force to execute the thought which claims 
interpretation, even Avhen the judgment is most cultivated. 

Instead of affectedly seeking originality, which, under treatment 
of many, serves only to confuse and obscure, I have conformed, 
as nearly as I can approve, to desirable and best understood 
construction and arrangement of the matter discussed; and herein, 
as otherwise, I acknowledge indebtedness to other writers. 

For a few extracts, corrected, adapted and employed, I have 
especially drawn upon the old and too-much neglected work of 
Dr. Bronson, which, with allowance made for structural peculi- 
arity, etc., is certainly a wonderful epitome of Elocution and 
kindred art. In short, the "Burton's Anatomy" of that subject. 

I find that the want of proper voice culture, voice management, 
voice action and true pronunciation — not mental obtuseness or 
perverted judgment — is the underlying fault of readers, and the 
petty habit of rushing them into recitations is the prevailing 
trouble. 

I am almost ashamed to be obliged to insert many of the exercises 
under articulation and other subjects, while pleased to admit that 
our various series of school-books are superior, in that respect, to 
those of any other national system. My apology must be that 
they are so carelessly treated in our schools — in truth, their best 
parts most frequently passed over— that as children we get no 
good of such, and in our riper years we do not return to school- 
books for instruction. Also, as will be seen, the Exercises are not 
directed to articulation only, but contain italicized corrections of 
large numbers of words improperly pronounced amongst educated 
classes; and in addition to these features, the Exercises are con- 



PREFACE. 



structed. of sounds, syllables and words necessary and peculiarly 
adapted, beyond others, to the development, up-building and estab- 
lishment of voice, under its severally employed forms and demands. 

The student may rely upon the physiological portions as no loose 
opinions, but the pith and substance of volumes; the reasoning 
of most skilled and noted specialists, who have philosophized and 
written on the subject of vocal mechanism, amongst them Gordon 
Holmes, Mackenzie, Draper, Paget and Carpenter. 

.The knowledge thus acquired may be said to be supplemented 
by a judgment, which experience in practical results has led to 
the selection, of what seemed best and most warranted practice 
to effect the end in view. 

I may now refer to my treatise on "Philosophic Elocution and 
Gesture," partly published and in course of publication, where 
all that pertains to the more properly intellectual and philosophic 
portion of oratory and reading may be pursued, and where the 
voice, here prepared, will be found treated as the exponent of the 
mind, the symbol of its passions, emotions, etc. 

Without wishing to force the present volume on the public, but 
believing that it is required — that it will serve many besides my- 
self, and that it contains value lor all that it will sell for— I risk 
the cost, and without hackneyed apology present it far acceptance, 

A TREATISE ON VOICE CULTURE. 

JA3. J. VANCE. 
Baltimore, January, 1882. 



CONTENTS. 



PAGE 

INITIAL CHAPTER— Which many would do well to con- 
sider 1-16 



CHAPTER II. 

PHYSIOLOGY OF THE VOICE (anatomical chart) 18 

i. Voice Organs. Nose and Mouth 16 

Hard Palate and Uvula 17 

Pharynx and Larynx 18 

The Vocal Cords 19 

The Glottis 20 

The Epiglottis 21 

Trachea, Bronchial Tubes, Lungs. . 22 

Pleura and Diaphragm 25 

Abdominal, Dorsal Muscles, &c 25 

ii. Forms of Voice , 26 

Effusive 

Expulsive 

Explosive 

in. Voice Qualities , 27 

Pure Tone, Orotund 

Guttural, Pectoral, Aspirate 

iv. Attributes of Voice 28 

Form, Quality, Force 

Stress, Pitch, Movement 

v. Voice Timbre 28-30 



CONTENTS. 



CHAPTER III. 

PAGE 

BREATHING.— Physiology, &c 31 

Instructions for Exercise, &c 33 

Three Forms of— Effusive 33 

Expulsive. , 35 

Explosive 36-37 

Positions for Exercise 38-39 

CHAPTER IV. 

ARTICULATION 40 

Key to Correct Vowel Sounds and Groups.. . 44 

i. Correctness of Articulation 45 

Voice Exercises — On Italian a 49 

On Sound of e Short 50 

On Sound of i Short 51 

On Sound of o Short 51 

ii. Distinctness of Articulation 52 

Voice Exercises on Sound of Wh, Th 53 

Sound of G, hard, k and gii. . . . 54 

Sound of G as Zh 55 

# Sound of X, soft as Gz 55 

Sound of F and V, cognates 56 

Sound of D and P 56 

Sound of D and T 57 

in. Ease of Articulation 53 

Voice Exercises — Sibilaut Sounds 59 

Sounds of R, smooth, R, trilled. . 59 

Mixed Articulations Gl 

iv. Elegance of Articulation 63 

Mispronunciations — A and the 64 

of With and Wirhe, and Monosyllables . 64 

of Numerous Words to be avoided 64 

Important Notes, Instructions and Examples 65-70 



CONTENTS. 



CHAPTER V. 

PAGE 

DEFECTS OF VOICE 71 

i. Nasal Tones 71 

The Nasal Cavities and their office 71 

Nasal Harmonics, their Value in Voice 70 

Offensive Nasal Tones, explained 72 

Their certain remedy. , 73 

Voice Exercises therefor, &c 74-76 

ii. Stuttering, or Psellism 76 

Various causes 78 

Treatment, Exercises and Cure 80-88 

in. Stammering. Its Cause, &c 83 

Treatment and Cure 84-85 

iv. Lisping and Cause 85 

Treatment, Exercises and Cure 86 

v. Labia- Vocal Defects. 

Exercises and Cure 87 

vi. Hoarseness. Its Cause, &c 88 

Dysphonia Clericorum, &c 88 

Cold Water while Speaking, Evil Effects of. 89 

Lubricating Drink as Relief .90 

CHAPTER VI. 

VOCAL FLEXIBILITY 93 

Voice Exercises, Slides and Undulations 93 

Scales for Pitch and Modulations 95-96 

Volume, Force, Swell 96 

General Examples 98 

CHAPTER VII. 

FORCE AND STRESS, defined as principles 99 

Force, Loudness, Volume, defined 100 

Executive Forms and Elements of Stress. ....... 100-101 



CONTENTS. 



- PAGE 

I. Radical Stress. Its Philosophy, &c 102 

Its Power and Oratorical Necessity 103-104 

Voice Exercises, Graduated Scale 105-108 

Its Subtle Power in Expression 109 

Its Neglect, grave fault 98 

Examples for Practice 99 

II. Radical Diminuendo Stress. Its Philosophy 100 

Its Office, Instructions, Examples 101-106 

in. Vanishing Stress Its Philosophy 107 

Its Office and Instructions 108 

Examples, useful notes, &c 109-111 

iv. Compound Stress. Its Phrosophy Ill 

Instructions for practice 112 

Examples, notes, &c 113 

v. Median Stress. Its Philosophy and Symbolizalion. 126 

Instructions for practice 127 

Exercises, notes, &c 128-129 

vi. Thorough Stress. Its Rationale 130 

Its Office, Instructions, &c 131 

Examples, notes, &c 132 

Abuse thereof, Schools, &c 133-134 

vn. The Tremor. Its Philosophy 134 

Instructions for its production 135 

Its Office in Expression, &c 136 

Examples for practice, &c 137 

Its Power, Prevalence, &c. 139-141 

vni. Force and Stress Their General Power, &c... 
Selections for Exercises and Cultivation thereof, 

and Eradication of Vocal Defects.. 142 

Macauley — Battle of Naseby 142 

Bryant— Song of the Stars 144 

Hemans— Voice of Spring 145 

Moore — Wreathe the Bowl, etc 146 



CONTENTS. 



CHAPTER VIII. 

PAGE 

QUALITIES OF VOICE 147 

I. Pure Tone, defined, Instructions, &c 148 

Voice Exercises— Praxis in Pare Pronunciation.. 148 

On correct sound of a, long 149 

Sound of e, long 139 

Sound of i and y, long.. . 150 

Sound of o, long 150 

Sound of o, long and close 151 

Refined Pronunciation and Abuses 151 

Correct sound of u, long 153 

Its manifold abuses, Illustrations 154-156 

Selections for practice on Pure Tone : 

Nearer, my God, to Thee 156 

The Lost Chord 159 

The Sculptor Boy 160 

ii. The Monotone, denned, &c 161 

Instructions for Praxis 

Its province, exercises, &c 163 

in. The Orotund. Its Philosophy, Analysis, etc 165 

Instructions for its production 168 

Favorable Combinations and Exercises 169 

Voice Practice h, aspirate 170 

Sound of a, broad, etc 170 

Notes and General Exercises 171 

( -per - 1 Selections, Examples 172 

. & aubi ve , i instructions, notes, and 
Forms. Expulsive,! ig Sunder, oratori- 

[ E *P losive - j cal, dramatic, &c. 172-182 

iv. The Guttural. Its Physiology and Province 183 

Instructions to cultivate 154 

( Effusive, ) Selections, Examples 185 

Forms. •! Expulsive, ;- Instructions, notes, and 

(Explosive.) praxis, oratorical, &c. ..185-190 



CONTENTS. 



Page 

v. The Pectoral. Its Physiology, Character, &c. . . . 190 
• Its Formation, Office, &c 191 

{Effusive, ) Selections, notes, examples, 
Expulsive, [• &o, oratorical and dram- 
Explosive. ) atic 191-194 

vi. The Aspirate. Its Philosophy and Office 194 

Instructions for its formation 195 

The Whisper, defined and exemplified 196 

! Effusive, ) Full praxis, selections and 
Expulsive, > examples, oratorical, 
Explosive. ) dramatic, &c 197-203 

Miscellaneous Selections for Praxis 203-240 

Resume of Exercises on Elements. 
Vowels.— A (Italian) 49; A short, 7G; A long, 76, 149; 

A broad r 170 

E short, 50; E long 149 

I short, 51 ; I long 150 

O short, 51 ; O long 150-151 

U long, &c 153 

Diphthongs.— Oi, Ou, Ow 68-75 

Consonants.— C, K, Q 05 

D 57 

F 56 

G, Gh, &c 54-55 

H 53,70,169 

M 87 

N,Ng 75 

P 56-57 

R 59-61 

S 59,67,85 

T 53,57 

V 56 

W,Wh 53 

X 55 



PREFACE TO SECOND EDITION. 



TO THE READER : 

I need add little to the present beyond my acknowledgement of 
the kindly manner in which my former edition has been received 
and the constant demand necessitating thus early another issue. 

To this revised edition have been added several sections on 
Vocal Defects and a clear presentation of the disorders known 
as Stuttering, Stammering, Lisping, &c, with directions and 
exercises for their infallible cure; also exercises for facial mus- 
cular defects and repair, together with most important instructions 
to speakers and readers troubled with diseases of the throat. To 
this is added, from most reliable scientific sources, a simple and 
approved relief, which to many will be an invaluable boon. 
Although I have avoided making the work a book of selections, 
I have yielded to the expressed wishes of patrons — individuals 
and institutions — by adding a few more such as I would advise 
for practice upon matter discussed in the text. 

JAS. J. VANCE. 

June 1st, 1882. 



PHILOSOPHIC ELOCUTION. 



Initial Chapter. 

The present portion of this treatise is neces- 
sarily so mechanical compared with the intellec- 
tual that one almost hesitates in laying before the 
student the preliminary work and exercises which 
succeed it. 

Good Elocution may be simply defined as the 
intelligent, intelligible, correct and effective inter- 
pretation and expression of thought and emotion 
in speech and action. 

Slight reflection and a proper apprehension of 
these terms will allow us to proceed with that 
which must be considered as the substratum, the 
sine qua non of all elocutionary study, effort and 
grace. 

The Orthoepy of our Language. The art by 
which are attained its precise syllabication, cor- 
rect articulation, proper accent and pure enunci- 
ation, must be life-long study, perfected only by 
l 



PHILOSOPHIC ELOCUTION. 



close, earnest labor. The greatest good a teacher 
can be expected to effect therein is to awaken 
observation, application, thought; and if possible 
excite determination to mark, constantly, distinc- 
tions, subtleties and niceties that lie between 
words employed ; to note the chasteness, the pre- 
cise pronunciation, of our language when well 
spoken; and to know that upon these features 
more perhaps than on any others depends the 
difference between good and bad elocution. The 
pupil should understand that the work must at 
first be his till, under an awakened judgment, it 
become a second nature. Then with full rapidity 
of thought he will see errors in himself and 
others ; as pleasant pastime will arrest the words 
as they present themselves for utterance; and 
with easy care provide that without proper form 
they pass not into speech. 

Nothing is perhaps more irksome to a teacher ; 
nothing more liable to provoke the smile and 
laughter of the pupil than the inevitable drill and 
exercise which very few, if any, can dispense with 
or forego. Were it possible to avoid it the author 
would himself eschew that part of the instructor's 
office and also would omit much of the following. 



INITIAL CHAPTER. 



But it must be done by all who would succeed ; 
and those who fail to recognize the essential traili- 
ng of the voice until it thereby acquire softness, 
flexibility, rotundity and other qualities which 
adapt it to full natural expression; until thus 
moving, without apparent care or effort, in obedi- 
ence to the mind within, it can interpret truly the 
varied shades and colorings of thought, mistake at 
once and positively the basis of practical elocu- 
tion. The want of experience or knowledge of 
this was the defective premise in Archbishop 
Whately's reasoning against an art which, other- 
wise, he might so capably have judged. 

Wherever he touches elocution he is troubled 
with the fear that he who devotes himself thereto 
becomes incorrigibly attentive to his voice and 
manner rather than to the matter of his work; 
the proper comprehension of which latter, the 
Archbishop would contend, is all that is necessary 
to successful reading or delivery. How shallow 
an objection he would have thought it against a 
study of his rhetoric and logic that the person 
would necessarily fail thereafter in his composi- 
tion, reasoning or oratorical attempts because that, 
instead of engaging its power in the thought, the 
3 



PHILOSOPHIC ELOCUTION. 



polished and educated mind would be busying 
itself with his rules for its expression. 

No, let us be just to the learned doctor, as he 
should have been to the sister art. The years 
the scholar spent in the true stud}' of those sub- 
jects have prepared the mind against necessity to 
halt and blunder in the work. 

So if the mind's conceit would be expressed in 
voice ; it may surely be admitted that the same 
nerve machinery that conveys the intelligence to 
fingers, dealing with the keys and vents of flute, 
which sometimes in wild rapidity move with ten 
times the velocity of voice, can also, without 
clumsy halting or apparent action, move the 
vents and stops of that more delicate wind instru- 
ment which God attunes and gives us power to 
manage. 

The cases are precisely parallel, and action in 
each is taken from the same centre. The musi- 
cian — the mind — wills a slow or rapid note of 
such a tone, or pitch, or quality; the knowledge 
— obtained by long practice — is present, that the 
lifting or closing of such fingers in their combina- 
tion will effect the wish ; quicker than lightning- 
flash the mental nerves convey to muscles the 

4 



INITIAL CHAPTER. 



command, and fingers move and notes in sweet 
succession fill surrounding space. Who ever stops 
to think what process has been undergone ? And 
yet we know that upon every note that whirled 
in such wild speed the following process has been 
taken : " I require a certain tone ; D, F, G,- or C, 
is the representative or exponent of that sound. 
To obtain such note I raise or close certain fingers. 
I shall raise or close them." He does so and 'tis 
done. In like manner the mind is cognizant that 
certain conditions of the vocal organ, closed or 
opened, expanded or contracted, tense or lax, will 
express the character of thought intended. It 
wills such character of expression and supplies 
the words. The nerves, which are simple tele- 
graphic wires of the brain battery, flash the mes- 
sage, and muscles, in obedience, form the vocal 
parts to shapes that issue forth the sounds. The 
true natural interpretation is given, and all despite 
the opinion and objection of my lord the Arch- 
bishop* Whately. This you may do, says one, 
without knowing the names of the parts or their 
construction. True, and so also may the flutist 
play who does not know a note. But both know 
the principles • both have practised on the instru- 
5 



PHILOSOPHIC ELOCUTION. 



ments, understand their management and keep 
them tuned. 

Archbishop Whately has made many very sen- 
sible remarks upon the subject of elocution, but 
he took very contracted view of its philosophy 
when he limited to rule and symbol the agencies 
employed by the true, educated teacher of this 
art ; as also when he thought that a correct and 
even profound comprehension of the author is suf- 
ficient for interpretation to an audience. The 
learned men of his own church, many of whom 
no doubt as thoroughly as himself understood the 
text of their print ox manuscript, but who, from 
Sunday to Sunday, continued, and whose successors 
still continue the mutilation and distortion of 
speech and thought through most unnatural and 
offensive forms of delivery, should be in them- 
selves sufficient answer to his charge against an 
art he certainly did not thoroughly understand. 
And yet some carping followers, on all sides, who 
not only mouth and drone and drawl, but mis- 
pronounce, derange and disarticulate the words of 
hymns and texts of Scripture, turn up the nose 
at elocution without really considering the true 
meaning and comprehensiveness of the term. 
6 



INITIAL CHAPTER. 



However, elocution has in this, perhaps, its teach- 
ers much to blame, as it is sometimes no better 
taught than sermons are delivered. 

The True Study of Yoice Culture, as at- 
tempted in this work, is to tune and prepare the 
voice intelligently for action so that when it moves 
it moves with dignity and strength, not needing 
mental supervision lest it slip or stumble. It 
should be unnecessary to urge the subject of cul- 
ture in the speaking voice, yet nothing, perhaps, in 
our education is more recklessly neglected. Every 
parent thinks his daughter should be taught to 
sing whether she has tune or not ; she must learn 
the piano though years of time and hundreds of 
dollars be squandered in the effort ; but no at- 
tempt is made to cultivate the speaking voice al- 
though in every case possible and immediately 
within our reach. 

The sweetest inflections of conversational tones, 
the softest and most attractive modulations of the 
reader and the most forceful captivating orotund 
of the speaker, are essentially artificial, i. e., the 
result of proper exercises for the conservation or 
development of the natural power possessed ; and 
as simple and certain in acquirement as any study 

7 



PHILOSOPHIC ELOCUTION. 



of our schools. The richest voice in sweetness, 
compass and power, that the author has heard 
for years was developed from very weak condi- 
tion by one of his pupils, inside of ten weeks ; and 
in majority of well directed cases it demands but 
little longer time, though more is required for its 
perfection and establishment. Half-educated elo- 
cutionists whose "system" consists of parrot-like 
imitation, pay little or no attention to the para- 
mount fact long since expressed by Cicero, that 
" For effectiveness and glory of delivery the cultiva- 
tion of the voice holds undoubtedly first place " and 
that by proper exercise very inferior voices may 
in short time reach fair excellence. 

They take but little note of the recorded labors 
of men of ancient or modern times who excelled in 
eloquence and expression ; and they overlook the 
truth that Greek and Roman orators submitted 
to long years of study on this single subject. 
They disregard the fact that there were three 
distinct classes of instructors for the speaking 
voice, and they think nothing of the Greek 
jphonctshos whose seperate office was to teach the 
pupils the most refined mode of pronunciation, 
the proper modulations and inflections, and to 



i 



INITIAL CEAPTEE. 



superintend systematic exercises for the develop- 
ment and cultivation of the voice. 

Cicero after completing his studies in Rome, 
retired to Athens, where he spent four years in 
the study of elocution — and afterwards hvo years 
more under one of the most celebrated tragedians. 
What would a young lawyer of the present day 
think if such course were imposed on him ? For 
Cicero he knows was only the most polished and 
successful forensic orator of antiquity — some say 
of all time. 

We are perhaps tired of these hackneyed stories 
and others of the eight years labor of Demosthenes 
to overcome his vocal disabilities, even although 
we know his speeches to have been more power- 
ful than armies, and his efforts nothing more than 
the grandest oratorical successes of the past. 

Let us look then to facts of our own time, and 
bear cheerfully in mind this, which is laid down 
as fact, that the graxdest quality of the speak- 

IXG VOICE MAY BE ARTIFICIALLY DEVELOPED in man. 

Nor do we mean to say that in order to succeed 
as orator or reader a teacher of elocution is in all 
cases necessary any more than is the professor to 
the intelligent student of classics or the musical 
9 



PHILOSOPHIC ELOCUTION. 



instructor to the diligent amateur of harmony. 
The aim would be attained if we could secure to 
elocution proper, the well directed effort now so 
much denied and which must be given for success. 
Let us ask the opinion or question the lives of 
men around us, eminent in the pulpit, in the 
forum, on the platform, on the stage : Henry 
Ward Beecher, whose voice and action not un- 
frequently have moved a hemisphere ; Edward 
Everett, whose fascinating tones and gesture spell- 
bound halls and senates ; Wendell Phillips, whose 
sweet, sonorous voice, with graceful poise and 
chaste gesticulation may well be offered as a plat- 
form model for the nation ; Edwin Booth, the 
impersonation of ideal grace and finished action, 
which, even dissociated from his truly inspired 
voice management, would eloquently speak. Let 
us ask these did they not devote years of pleasant 
labor mixed with active thought to the study of 
correct intelligent elocution, which means also 
gesture, and we may stake our belief in this art 
upon their honest answer in the affirmative. 
These successes are not accidents : nor upon the 
thoroughly understood definition of elocution as 
"Pronunciation, Expression, Action," held by 
10 



INITIAL C II AFTER. 



Greek and Roman two thousand years ago, would 
it be much exaggeration to attribute such successes 
to this reviving art. 

It is astonishing that such apathy, one might 
almost say stupidity, should prevail in this mat- 
ter not only amongst those whose successful life- 
work is dependent chiefly on the effective oral 
exposition of their thought, but amongst educators 
who control the last and the best years of the 
student's college course ere he passes out to take 
his place in the pulpit, at the bar, or in public 
life. 

Colleges exact five or six years in classics, ad- 
ditional years of toil in Hebrew for the pulpit ; 
yet during those six or eight years the student has 
not, save in the most rudimentary manner or at 
accidental times, had six or eight tveeks instruc- 
tion in the art of oratorical delivery or reading, 
the basis of his life success. Some educated men 
are thoughtless enough to believe that this will 
naturally come to them, even in presence of the 
fact that majority of ripest scholars are therein 
deplorably deficient as many of their most super- 
ficial juniors. 

Men excel one another in general talent and 
11 



PHILOSOPHIC ELOCUTION. 



capacity, but a scholar by inspiration has never 
yet been found. So one excels another in speak- 
ing, but the orator must yet be born to take high 
rank without preparation and earnest labor. 
Suppose some orators were named who had be- 
come such without instruction; would it be 
stronger reason for denouncing elocution and its 
study than it would be to abolish our national 
schools, our colleges and professorial chairs because 
some "self-made" men without opportunities of 
school or college have held high places in the 
world of letters, art and science; higher than 
graduates, fellows, and wranglers of university 
or college? 

Because a self-educated blacksmith outstripped 
all linguists of the age, should it follow that we 
require no chair of languages in educational insti- 
tutions ? Puerility is a term too worthy under 
which to catalogue such reasoning ; yet men with 
as bald unreason discuss the subject of elocution. 

We may accept it as a truth that the successful 
orator has made faithful study of elocution and 
gesture, sometime, somewhere, either by himself 
or under an efficient master ; and the only sensi- 
ble, debatable question, in the premises is : Should 

12 



INITIAL CHAPTER. 



it not like every other study be prosecuted under 
competent instructors; should it like Rhetoric 
and Belles-Lettres hold a chair in our colleges; 
or is it the only known exception to the instruc- 
tive art? 

There is no more blundering delusion than the 
contracted estimate apparently entertained by col- 
lege faculties, school commissioners, professional 
and general pupils, of the sphere and responsibility 
of the elocutionist. There are notable cases all 
around us of engagements between learned fac- 
ulties and " professors of elocution," whose chief 
educational attainments consist of some prac- 
tised tricks of voice and a few catch-pieces that 
they teach as "readings" to classes, which they 
treat like so many parrots ; perpetrating, during 
their ^instruction" the grossest mispronunciations 
and grammatical mistakes ; besides, exhibiting 
such general ignorance of the language, with 
whose highest, deepest, fullest, subtlest forms 
they are supposed intelligently to deal, as should 
immediately cancel their appointment. The 
author has lately been addressed by no ordinary 
scholar, at the head of a university, requesting 
his terms ""to drill the boys of the graduating 

13 



PHILOSOPHIC ELOCUTION. 



class for about a week preceding commencement." 
Such is the scant consideration given to this 
subject sometimes in high quarters. 

Thus huckstered for and taught, it is an em- 
piric evil rather than instructive art or science; 
and while thus misunderstood and valued, while 
ten or twenty accidental lectures on the broad 
subject of elocution and gesture are considered 
in oratorical training equivalent to six or eight 
years in classics, nothing better may be hoped for 
among speakers. 

Just lately has come to the knowledge of the 
author another of numerous like cases where a 
minister was dismissed by his congregation because 
of his intolerable reading and delivery. His fellow- 
students and the faculty exclaimed, "That is a 
great pity ! Why, he was one of the best stu- 
dents and theologians that ever passed out of our 
halls !" Yet reason cannot blame his congrega- 
tion, which had reasonably borne with him, nor 
withhold, without intended harshness, the admis- 
sion, "served him right." 

It is a pleasing fact, however, that in our best 
educational institutes it is finding more apprecia- 
tion, and that chairs are being established for it 

14 



INITIAL CHAPTER. 



in our Universities and Theological Colleges. 
In these last, without insinuating ivhat would not 
be true, that they require it more than others? 
much good must be the result where properly 
taught For there is no place on earth so wide 
and elevated for the orator as the Christian pulpit; 
no themes so inexhau stable or inspiring as man 
deals with there, and few places, perhaps, where 
so much learning and some slovenly elocution 
are unduly mixed. This should not continue. 
Is it not a duty of the minister to devote himself 
to any study that would enable him more truly, 
intelligently and intelligibly to interpret gospel 
texts , to read with earnest grace the hymns of 
service, and to interest his hearers in the soul of 
poetry that breathes in sacred song ! How r aptly 
here apply the words of the learned Dr. McNeile, 
Dean of Eipon, published some few years 
since. 

Differing from his fellow- churchman, Arch- 
bishop Whately, he states, * * * * " in what- 
ever department of his labors you contemplate 
the minister of the church, it would be difficirft 
to estimate the advantage that might, under Divine 
blessing, be derived from elocution classes in our 

15 



PHILOSOPHIC ELOCUTION. 



universities, where under competent professors 
our young men might be traine 1 in recitation, 
both of selections from standard authors and of 
their own compositions, on set subjects. Instead 
of superseding any of the present process this 
might be added to all, and I if candidates for Orders 
were thereby delayed a year there would be more 
than compensation for the delay in the increased 
competency for the work." 

Some good educational institutions say we have 
not room for it. We have no time. Then bet- 
ter abandon some less valuable item in the cur- 
riculum and make room for a study which when 
correctly taught becomes not only the grace of 
speaker and reader, but the exegesis of the exe- 
gete whereby half-blundering commentators are 
corrected and explained. It needs no hesitation 
to assert that in a chair of Rhetoric and Belles- 
Lettres the educated elocutionist accomplished 
in the grace of gesture would, cceteris paribus, be 
a threefold better teacher than one unskilled 
therein ; and it may be fairly questioned if there 
can be thorough and effective instruction in the 
former branches unless supplemented by the 
latter. 

16 



INITIAL CHAPTER. 



Let students consider how widely elocution 
reaches, mixing and blending with all they know 
and learn, not of English only but of all tongues, 
not shown alone in li readings " or orations, but 
in composition and in conversation, giving finish, 
polish, grace and attractiveness to all things 
educational in school or college, because it refines 
tlie mind. It will be better understood. 



17 



Plate 1 




Anatomical Section— Voice Organs and Relations. 
1. Cavities, or fissures, in the head bones (frontal and sphenoidal cells). 
2. Channels of the Nose (sup. mid. and inf. meatus). 3. Hard Palate. 4. 
The Nostril. 5. The Tongue. 6. The Tongue up-lifted, in action. 7. The 
Larynx, with thyroid cartilage in front. 8. The Ventricle of Larynx. 9 
Vocal Cords, or bands. 10 Points to the glottis, or slit between the cords 
through which the breath passes. 11. Trachea (or Windpipe). 12. The 
upper part of Epiglottis, in act of shutting down. 13. The Tonsils on 
each side of palate. U. The Uvula, or soft end of palate (lax or pendent). 
15. Dotted lines— The soft pulute raised. 16. The Eustachian Tube, open- 
ing to the ear. 17—17. The Pharynx. 



CHAPTER II. 



Physiology of Yoice. 

It is so common to speak of vocal organs, vocal 
cords, etc., without any true conception of their 
operation or construction, that we will find it here 
expedient to take a concise survey of portion of 
the organism preliminary to further discussion of 
the subject of voice. The deeper student may 
refer to works on physiology, etc., but out of the 
much larger number of distinct members which 
perform important functions in our speech we 
must here content ourselves with principal ones, 
some proper comprehension of which will largely 
facilitate our action and progress in the practice 
and exercises which are to follow. These organs 
may be divided into the voluntary and semi- 
voluntary, the former of which, as the breathing 
muscles, tongue, lips, etc., being so immediately 
subservient to the will, need not at present be 
discussed, as they will be more fully dealt with 

19 



PHILOSOPHIC ELOCUTION. 



in proper place hereafter. The principal parts 
with which we should be practically familiar, as 
the voice is the resultant of their action, are the 
Abdominal and Dorsal Muscles, the Diaphragm, 
Thorax, Pleura, Lungs, Bronchial Tubes, Tra- 
chea, Larynx, Glottis, Epiglottis, Yocal Cords, 
Pharynx, Uvula, Hard Palate, Mouth and 
Nose. 



I. The Nose. — This organ is too little understood or 
too much overlooked in its influence, good or bad, 
upon the voice. Its cavity is peculiar, and may be 
regarded as a collection of six small tubes, each nostril 
being separated into three channels running horizon- 
tally from before backwards and opening into the upper 
part of the pharynx. (See plate i). The base of the 
nose, so to speak, is formed by the upper part of the 
palate or roof of the mouth, 

II. The Mouth requires no special description, and is 
noted here simply as among the principal organs 
directly connected with the voice. Its capacity, varied 
and affected by other members, has especially to do 
with the character of vocal sounds, for by its accommo- 
dation as resonance chamber, supplemented by the 
eustachian tubes, the nose and fissures in the bony 
structure of the head or face, the most harmonious 
tones of voice are obtained. Besides this, the enlarge- 
ment of this cavity and the forceful direction of the air 
column against the solid arch of the hard palate, 
greatly augments the power and volume of voice. 
This enlargement is easily affected by muscular action 
upon the soft* palate, the pharynx, and parts adjacent. 

20 



PHYSIOLOGY OF VOICE. 



III. The Hard Palate. — This is the arch or sounding- 
board of the mouth, and extends from the front teeth 
backwards until it terminates in the soft palate, which 
falls like a curtain, separating the forepart of the mouth 
from the backpart or pharynx. (See 3, plate 1.) 

IV. The Uvula, or Soft Palate. — This is the member seen 
at the back part of the mouth, overhanging the tongue 
and pendent from the centre of the soft palate at each 
side of and immediately behind which lie the glands 
called tonsils, surrounded by two ridges of muscles 
called the pillars of the fauces. Between the fauces 
again, on each side, opens a tube (the Eustachian) 
leading to the ear, and which ranks among the resonant 
organs, modifying tones of voice. 16, plate 1. The 
swollen, the lax or sluggish condition of the uvula or 
tonsils has much effect upon voice, as in the case of 
cold, etc., hereinafter explained. 

V. The Pharynx, or Swallow, forms the open space at 
the back of the mouth, with varying dimensions in 
different persons. Its size and shape can be altered by 
movements of the parts by which it is bounded, and its 
contraction or enlargement has much to do with the 
capacity of the voice, through the resonant space thus 
offered. Its enlargement gives depth of tone and 
reserve force, and its contraction high tone and small- 
ness to the voice. Its average length in adults is about 
three and a half inches, reaching from the base of the 
skull back of the nares, or nasal ducts, behind the 
uvula, or palate, then directly to the stomach. 

VI. The Larynx, directly in front of the pharynx and 
leading to the lungs, is that protuberance seen on the 
neck immediately below the chin, and familiarly known 
as "Adam's Apple." The cavity within is bell-like, its 
principal vocal function being that of resonance Upon 
its dimensions depend very much the depth, power 
and strength of voice, and when largely developed and 

21 



PHILOSOPHY ELOCUTION. 



prominent to sight it will be found that the individual, 
other things being equal, possesses strong vocal capa- 
city. In women it is about one-third smaller than in 
men, rarely showing itself outwardly, and hence the 
fact of their finer and weaker voice. So as to facilitate 
its enlargement or contraction, and thus the power and 
character of sound, it is constructed of a series of gristly 
rings and cartilage so bound and controlled by muscles 
as to be remarkably elastic. By the adjustment of 
another set of muscles it is also moved upwards and 
downwards about an inch, thus giving in its descent a 
deeper and graver tone, while the opposite is effected 
by its elevation. 

VII. The Vocal Cords are in fact a portion of the larynx, 
making it the immediate locality and general instrument 
of sound. They are two in number, somewhat prism- 
like or triangular in shape, broader and flat on the upper 
surface, more resembling what the Germans call them — 
vocal bands (Stimmbander), They lie about half an 
inch from the top of the larynx, and consist of strong 
white and highly elastic tissue. They are fastened 
anteriorly to what is called the thyroid cartilage, pos- 
teriorly to the arytoenoid, and at rest lie quite close 
together with a mere thread-like chink between. From 
the nature of their attachment they can be only sepa- 
rated posteriorly, so that when open widest, as in case 
of strong in-breathing, the aperture takes triangular 
form, the sides about four-fifths of an inch and the base 
about half an inch. In vocalization they approach a 
parallel position. Subject to the action of the larynx, 
they are capable of elongation or contraction as it 
enlarges or diminishes, and upon such changes, in a 
great degree, depend again the character and quality of 
vocal sounds. Their extension, making fewer vibrations, 
gives deeper tones, and their contraction, with conse- 
quent increased vibration, higher and sharper tones. At 
22 



I 



PBYSIOLOGY OF VOICE. 



greatest length in man they rarely exceed four-fifths of 
an inch, and in woman about one-third less. Hence 
again the difference in power, pitch and tone of their 
respective voices. 

VIII. The Glottis is'simply the aperture or slit between 
the approximating edges of the vocal cords already 
mentioned, and is capable of distension by their lateral 
movement. In strong inspiration it opens most, taking 
the form of an isosceles triangle, but in ordinary vocal- 
ization presenting a parallel chink-opening, much less 
than generally believed, even in our strongest or loudest 
vociferation. 

The obvious difficulty of scientific inspection of 
these parts during life and in action leaves our 
knowledge of the modus operandi a simple philo- 
sophical induction, but so ingenious withal as to 
amount to satisfactory demonstration. Physio- 
logical detail is beyond the scope of the present 
work, but the pupil should understand the term 
as if with his knife he made a slit in a sheet of 
paper, and that slit represent the glottis. 

IX. The Epiglottis is a small member employed as valve 
or lid, covering when necessary the glottis, upon which 
it closes at the slightest action of the muscles which 
elevate the larynx in the act of swallowing. It stands 
immediately behind the tongue, being attached thereto, 
and by its closure not only prevents the possibility of 
food or liquids entering the larynx and passage to the 
lungs, but in its motion modulates at times the tones of 
voice. Thus by slight deflection it may throw the air 

23 



PHILOSOPHIC ELOCUTION. 



column, in its upward passage, against the back part of 
the pharynx and mouth cavity; or in upright position 
allow its more direct action against the hard palate or 
sounding board of the mouth. 

X. The Trachea, commonly known as the windpipe, is 
the continuation of the larynx in form of a gristly or 
cartilaginous duct running about four inches from the 
lower portion of the larynx. 

XI. The Bronchial Tubes. — These are again a continu- 
ation of the trachea, dividing itself into two branches 
leading right and left, then gradually into numerous 
other smaller branches ultimately no thicker than a pin, 
and terminating in groups of little spongy air cells. 

XII. The Lungs are the connection and collection to- 
gether into one mass on each side of the chest of these 
very elastic spongy cells, so well known as the recep- 
tacle of the air we breathe. At every expansion of the 
chest the air rushes into these cells and is again driven 
out by muscular contraction. 

The measure of the lung power, as a vocal 
organ, is the quantity of air contained therein, 
and this can be largely augmented by correct 
breathing, the process to be presently explained ; 
for no fact is better established in elocution or 
medical science than this, that a very consider- 
able proportion of the cells composing the lungs 
are not, even in the very large majority of healthy 
persons, brought into use, expanded or filled in 
respiration. 

24 



PHYSIOLOGY OF VOICE. 



XIII. The Pleura is the thin muscular membrane which 
surrounds and embraces the lungs, contracting and ex- 
panding as it is operated upon and in harmony with 
the diaphragm, abdominal and pectoral muscles. By- 
its contraction it presses around the lungs and, as the 
hand would squeeze the water from a sponge, expresses 
the air therefrom through the bronchial tubes upwards 
through the glottis. 

XIV. The Diaphragm, so called (from Diaphragma, a 
partition,) because it serves as a partition between the 
chest and the abdomen, separating the heart, lungs, etc., 
from the lower viscera — is a large flat and thin muscle 
or plexus of muscles shaped like a fan and attached all 
around to the inside of the lower ribs, known also as 
the floor of the chest. It moves in harmony with the 
abdominal muscles, and when relaxed its upper surface 
arches into the thorax, contracting that cavity and caus- 
ing pressure upon the pleura which in its contraction 
presses the lungs. Thus in tranquil respiration the 
changing of the air is accomplished by the alternate 
elevation and depression, or relaxation and contraction 
of this muscle — the diaphragm. 

XV. The Abdominal and pectoral muscles around the 
chest — or thorax — and adovvn the abdominal region, 
are said t ) consist of three layers of muscles, which are 
thus strongly multiplied for the purpose of aiding in 
the work of breathing. By their contraction and relax- 
ation in harmony with the diaphragm a more forceful 
and complete respiration is performed, which again 
in strongest efforts are supplemented by the action of 
the dorsal muscles in the same direction. These dorsal 
muscles lie, as their name imports, at the back in the 
region of the waist. Thus, for a full inspiration, the 

, whole of those muscles relax, the diaphragm descends, 
the air rushes in and fills up the lungs, which inflate in 
proportion to their capacity, and the enlarged thoracic 

25 



PHILOSOPHIC ELOCUTION. 



cavity, and herein is effected the most perfect inspira- 
tion — the preparation for strongest vocal effort. This 
is effected in the expiration, as follows : The abdominal, 
pectoral and dorsal muscles are contracted with rapidity 
and force, the muscular walls of the abdominal cavity 
press upon the viscera, which in turn press upon and 
force upwards the relaxing diaphragm; this compresses 
and lessens the cavity of the chest and forces the con- 
tracting muscular action of the pleura upon the lungs, 
which thus, being grasped and squeezed, give forth the 
air ; and this rushing through bronchial tubes, trachea 
and larynx, strikes the vocal cords into vibrations. 
These vibrations result in voice, which is then modified 
and turned to language by palate, tongue, teeth, lips, 
etc. 

Thus is seen the history of speech creation ; and 
thus it is obvious that the more complete control 
we obtain of the abdominal and diaphragmatic 
muscles^ the more perfect will be our breathing, 
the more complete our command of voice. 

Section II. — Forms or Voice. 

The voice, created as above, employs itself in 
three different forms of expression, which, as 
they will be more clearly dealt with hereafter, 
need only now be mentioned. Their names here 
given will be, in the meantime, sufficiently ex- 
plicit of their character and office. 

26 



PHYSIOLOGY OF VOICE. 



1st. The Effusive — " Pouring out," as its 
name imports, the voice softly, tranquilly, 
solemnly in pleasing thoughts, pathos, rev- 
erence, devotion, &c. 

2d. The Expulsive — u Serving to expel " the 
voice with force through impassioned, ora- 
torical, earnest, decisive thought, &c. 

3d. The Explosive — "Driving or bursting 
out" with violence and power, as in strong 
command, passion, alarm, &c. 



Section III. — Voice Qualities. 

For purposes of true elocution it will be suffi- 
cient to treat of voice under the following qualities 
as distinguished from character or condition. 
They will find exposition in due place, but are 
inserted in the present connection as part of the 
mechanical substructure of this work. 

Those qualities are : Pure Tone, Orotund, 
Guttural, Pectoral, Aspirate. 



27 



PHILOSOPHIC ELOCUTION. 



Section IV. — Attributes of Voice. 

Of these there are six, and so called because 
they are cumulative essential properties of ex- 
pression, necessary to the utterance of every sen- 
tence spoken, and without the service of every 
one of which no vocal expression can be had. 

They are Form, Quality, Force, Stress, Pitch, 
'Movement, and of which a simple analysis will 
illustrate their inevitable use. There is no sen- 
tence so simple that it can be spoken without 
employing 

Form, be it effusive, expulsive or explosive. 
Quality, " pure, guttural, orotund, aspirate. 
Force, " abrupt, subdued or impassioned. 
Stress, " radical, final, median, compound. 
Pitch, '" high, middle, low, or very high. 
Movement, be it slow, rapid or moderate. 

Section V.— Voice Timbre, 

Lastly^ in the present sequence, may be noted 
vocal idiosyncrasy. It is not more singular than 
other features of our nature that no two voices 
can be found alike, and we know that such pre- 
vails as positively as the changing lineaments of 
28 



PHYSIOLOGY OF VOICE. 



the human face, the differing leaf of tree and 
flower. This idiosyncrasy, by the French called 
" timbre, " and which word we adopt, is the result 
of the peculiar construction of the vocal cords in 
each human being. These cords, two in number, 
extending as we have seen across the upper part 
of the larynx, forming as it were the lips of the 
glottis, receive the shock of the air as it is ex- 
pelled from the lungs through the trachea and 
larynx. The force of concussion causes them to 
vibrate, and this vibration produces sound, or 
voice. The tension, relaxation, health, length, 
strength, thickness and other conditions of these 
cords are the chief elements which give peculi- 
arity to vocal sounds. 

Voice timbre, however, is the result more par- 
ticularly of complex relations herein, and may be 
illustrated as follows : Stretch a wire or string 
tensely between two points, and after striking it, 
say in the middle, listen to the sounds produced. 
You will discover one strong or fundamental 
sound, and on each side of this lighter sounds, 
growing finer and dying as you reach either end. 
If the ear be sharp enough, still finer sounds will 
be heard running from each of the points of 



PHILOSOPHIC ELOCUTION. 



vibration toward the end and interfusing them- 
selves in delicate harmony with the others. These 
lighter or finer sounds, to distinguish them from 
the strong or fundamental, are termed harmonics. 
Thus, then, as to the voice ; the column of air 
propelled through the trachea reaches and strikes 
the vocal cord, producing exactly those phe- 
nomena, except that instead of being struck at 
one point the vocal cords are struck along the 
entire line, and so the result is more ingeniously 
modified and complex. 

The main sound heard is the fundamental tone, 
and the harmonious blending of the lighter ele- 
ments therewith, as they shape themselves in 
the surrounding resonance chambers, gives to 
the complete voice that idiosyncrasy or timbre so 
unbounded in variety and so positive withal that 
we rarely, if ever, find two voices fully corres- 
ponding. 



CHAPTER III. 



Breathing. 



Trusting that the foregoing may sufficiently 
indicate the philosophy of Voice or true Phona- 
tion, we may now proceed to the practical uses 
of its machinery : 

Breathing is, as above exemplified, the result- 
ant of muscular action /the force and element out 
of which voice is created through its action on 
the vocal bands. Paradoxical as it may appear, 
it is a truth that the indisposition to inhale our 
allotted proportion of air so freely offered us is 
the main cause of voice failure or defect. If we 
would strengthen, invigorate and improve the 
voice we must begin by a due cultivation of the 
means of supply, and through it the cultivation 
of the power and capacity of organism upon 
which such results depend. It is quite certain 
that the majority of students overlook such, and 
will overlook these suggestions in their haste to 
reach the grand desideratum, the ability to read 
attractively. But it is quite as certain that before 

31 



PHILOSOPHIC ELOCUTION. 



they can reach any such consummation they will 
be obliged to return to and make this subject a 
chief study of their effort. There are therefore 
here laid down such instructions and exercises 
as may be sufficient for the purpose intended. 

As the character, force and quality of voice 
and action will largely depend upon the health, 
strength and grace of body, it is proper to men- 
tion that to all wishing to excel as readers or 
speakers appropriate gymnastic or calisthenic 
exercise and training are desirable, if not neces- 
sary. It is not here expedient to consume space 
in treating of such beyond suggesting that from 
experience and knowledge of the gymnasium, 
the art of fencing embraces by far the most 
graceful, elastic and healthful movements prac- 
tised by youth, and that next thereto light Indian 
club exercise not only may but ought to be learned 
by both sexes as preliminary to a healthful life, 
apart from elocutionary considerations. Properly 
directed gymnastics should always, when avail- 
able, be practised, and are invaluable aids to 
thorough voice development. So the intelligent 
teacher may introduce or advise what he knows 
best suited to the occasion. 

32 



/ 



BREATHING. 

These, however, being absent, let the student 
stand erect, not stiff, body straight, chest full, 
shoulders back, one foot slightly in advance of 
and about four to six inches distant from the 
other, forming therewith an angle of about eighty 
degrees, as in annexed first position. 



Let the retired limb be straight 
and well braced, but not stiff, with 
weight resting on retired foot, 
arms akimbo, fingers forward on 
abdominal and thumb back on dor- 
sal muscles, head properly poised, 
leaning neither forward, backward 
or sideward, and thus proceed to 
exercises : 




FIRST POSITION, 



There are three forms of breathing or em- 
ploying the breath which also apply as modes of 
using the voice in all its qualities. These forms 
are respectively the Effusive, the Expulsive and 
the Explosive, and may be properly introduced 
in first efforts of Voice Culture. 

The Effusive Form is that strong, full, tran- 



PHILOSOPHIC ELOCUTION. 



quil action of the abdominal muscles in their ex- 
pansion, letting down the diaphragm, relaxing 
the pleura, and inflating the cells of the lungs by 
the in-rushing air, and then out-pouring or effus- 
ing it smoothly and gently, without abruptness, 
from the vocal organs. 

Let the student occasionally practice this about 
a dozen times, inhaling through the nostrils, until 
the chest becomes expanded to its full capacity ; 
then at each expiration let the mouth open 
roundly, the teeth about three-fourths of an inch 
apart, and the muscles quietly contract, pressing 
the breath effusively and lightly as possible from 
the lungs just sufficiently to make audible the 
aspirate sound of h — (hay), and keeping up the 
effusion as long as possible. 

Additional Exercises — Effusive Form. 

I. Inhale and exhale slowly through the nostrils. 

" " forcibly " " 

" " abruptly " " 

II. Inhale through the nostrils and retain the air as long as 
possible. Do this several times, on each occasion ex- 
pelling the air in long deep whisper of one of the long 
vowels, A, E, I, O, U. 

III. Inhale as before, against pressure of hands on walls 
of chest. Retain the air and knead the chest with 
palms of hands; then expel air forcibly, whispering 
same sounds, A, E, I, O, U. 

34 



BREATHING. 



IV. While walking or running contract and retain con- 
tracted, occasionally, the abdominal muscles. 

V. Inhale fully through the nostrils and hold the air while 
walking or running. 

Note. — The use and advantage of Effusive Form is to 
give smoothness to tone and a mildness to voice utter- 
ance, which are necessary in the expression of devotion, 
love, pathos, solemnity and all the purer and nobler feel- 
ings and emotions. 

The Expulsive Form. — Practice the inhalation 
as before, through the nostrils. Retain the air in 
the lungs for a moment, and then with rapid 
action of the abdominal muscles expel it with 
lively force in form of light cough, throwing the 
column of air against the back part of the roof 
of the mouth with the sound "huh'' clearly au- 
dible and forceful. 

To this may be added, as a most approved ex- 
ercise, the various forms of sighing, viz., a full 
and rapid inspiration and expulsive expiration, 
first through the nostrils and then through the 
mouth. Again with the air drawn in and ex- 
pelled with tremulous action in form of short- 
ened sobs. 

Also practice the ordinary act of sobbing 
which in light convulsive form draws in and ex- 
pels the air. 

35 



PHILOSOPHIC ELOCUTION. 



Note. — This exercise, while much improving the means 
of supplying and supporting the voice, will be found 
most essential in subsequent rendering of emotional 
passages, the pathetic, etc. 

The Explosive Form. — Draw in the breath as 
first directed, (through nostrils.) After a momen- 
tary suspension allow a slight effusion so that the 
passage below the larynx be not quite filled. Then 
open the mouth as before, (three-fourths to one 
inch,) and with strong rapid action of the abdom- 
inal and dorsal muscles and diaphragm, drive the 
breath forcibly, sharply, suddenly, with an ex-- 
plosive ■" hah," or "hoh," against the palate or 
roof of the mouth, thence to be projected outward 
in compact volume. 

This may be continued, occasionally, for about 
a dozen explosions as a most effective means of 
opening up the voice, strengthening and getting 
more instantaneous control of weakened func- 
tional muscles ; but should not be indulged exces- 
sively or more than two or three times daily. 

This form may be judiciously practised in ex- 
plosive hearty laugh "ha! ha! ha!" or in short 
cough, which it closely resembles. 

Also in sudden strong inspirations and expira- 
tions as if panting after rapid running, etc. 

36 



BREATHING. 



Also in form of long violent gasping for breath 

with inhalation so strong as to be fully audible in 

its vibrations on the vocal cords, such as may be 

heard from man in deep agony. 

Note. — The last two will form useful exercise should the 
reader or speaker at any time require to interpret vio- 
lent emotions or passions. 

The student who has heard Edwin Booth utter 
the line 

" Wake Duncan with thy knocking ! I would thou could'st !" 
and heard him draw that fearful gasp — when 
quitting the stage with Lady Macbeth after the 
murder — will require no assurance of the perfec- 
tion to which it may be cultivated ; nor will he 
be likely to forget its awful power in execution, 
or to grudge the discipline that trains the organs 
for its effective use. 

Note. — The main thought in the above exercises must 
be to breathe strongly and naturally as possible, keeping 
the vocal organs well open and making the lower mus- 
cles do the work, without any movement of shoulders 
or body. Keep the tongue flat as possible in the 
mouth and well down at root so as to offer no obstruc- 
tion to free passage of the air, and the above exercises 
will be quite sufficient for all practical purposes, espe- 
cially as they are intended to be supplemented in each 
subsequent chapter of this portion of the work. 

There are four rudimentary positions of the 

37 



PHILOSOPHIC ELOCUTION. 




feet and lower limbs of which the annexed cut 
shows the first position. 

In this the whole figure may be 
supposed to be in attitude, page 33, 
full front to audience, the weight 
' of the body resting on the left 
foot, as shown by darker shading 
underneath, and the right just an 
sition. infa or two in advance ; the heels 
about four or six inches apart, and the whole 
foot forming nearly a right angle with the other. 

The second position is effected by 
gracefully swaying the body from 
left to right; from first position, 
j or that of rest, until the right foot 
bears the weight of the body, which 
then assumes appearance of action 



first posi: 




second position, in that direction. 



THIRD POSITION. 



The third position is the opposite 
of the first ; viz., the weight of the 
body resting on the right foot, and 
the left in manner and position above 
described, forming the like angle 
with the other as shown in figure. 



BREATHING. 




The fourth position is again the 
reverse of the second. The body 
swaying to the left from its rest 
on the right foot until the weight 
is shifted to the left or forward 
fourth position, foot and the body assuming the 
appearance of motion in that direction. 

Let the pupil practise each of these positions 
during the various exercises, so as to acquire ease 
and grace of posture and motion. If these atti- 
tudes and movements were properly taught and 
insisted on in schools and institutes, nine-tenths 
of the nonsensical action of calisthenics practised 
to no purpose might be dispensed with. It is a 
patent fact that not one out of one hundred of the 
strongest drilled in calisthenic classes takes up a 
proper position at rest or makes a graceful motion 
in gesture. 

Note. — The pupil should before entering upon above and 
following exercises measure the girth of his chest, and 
he will find, in addition to his vocal power, an increase 
of from one to two inches in chest measurement at the 
end of two months fair practice. 



CHAPTER 17. 



Articulation. 

Good Articulation involves four essentials or 
qualities — Correctness, Distinctness, Ease and 
Elegance — giving to every letter its due propor- 
tion and making syllabic distinction so accurate 
as to avoid all fusion and confusion. 

It is feared that this portion of the subject of 
Elocution will be more or less neglected by stu- 
dents ; yet would they faithfully consider its 
utility as preliminary to the thorough acquisition 
of the object sought, they would undoubtedly 
accept the advice here given and accord it full 
attention, satisfied how great its influence on the 
true mastery of the art. The deplorable fact 
that many from such neglect never become even 
reasonably good readers or speakers, and the 
further fact that many teachers for like causes 
go blundering along, misleading others and per- 
petuating errors and mispronunciations which 

40 



ARTICULATION. 



might have been avoided or repaired, should warn 
the beginner against like oversight. There can 
be no greater mistake than this neglect, and here 
upon the threshold the student is cautioned 
against it. 

An Arrangement of Exercises differing from 
the ordinary is proposed in this portion of the 
work ; one which will certainly be much more ser- 
viceable than the system generally pursued. It 
is, of course, necessary that we should know the 
true vowel and elementary sounds of our lan- 
guage; but it is manifest to all that there is less 
ignorance in this respect than in their practical 
application. Very few school teachers, for in- 
stance, could be found unfit to pass a reasonable 
examination upon those elementary sounds ; per- 
haps as few teachers of elocution; and yet it is a 
discreditable truth that large majorities of both 
are constantly abusing those sounds much more 
frequently than they would wish to believe. 

In most published works on elocution large 
space is allotted to the parade of elements with 
numerous examples and exercises set forth for 
practice upon the individual letters under their 
natural and modified sounds. 

41 



PHILOSOPHIC ELOCUTION. 



There is very strong doubt of any adequate 
return practically obtained for the time and 
labor thus expended, for its supporters pay such 
slight attention to those individual elements 
when found combined in words; and so much 
bad enunciation and pronunciation exist among 
comparatively educated men and teachers who 
have followed it, that it is time to conclude 
against a system in which most certainly the 
error lies. 

The student will find below a key, as given by 
Worcester, and can have no difficulty in learning 
therefrom, or from his dictionary, the true sound 
or character of any given element, which, with 
the aid of simple catch- words there set forth, he 
can determine and settle upon the voice in a few 
minutes so as to give it due pronunciation in 
syllables and words. The pure elementary 
sounds are thus quite as easily made, and more 
truly exhibited in syllables than alone. Exer- 
cises, thus, with words constructed and em- 
ployed, become more useful for our purpose. 
Their true syllabic articulation and enuncia- 
tion, their accurate accentuation marked and mas- 
tered in this manner, supply us terms of speech 

42 



ABTIOULATION. 



about which we have some security, and we pro- 
ceed to read or speak without fear of exposing 
our ignorance. 

Note. — The following table with above suggestions 
will serve every necessity, and the author would never 
advise the waste of time and consequent injustice done 
to pupils in arranging the lips and distorting the visage 
with mouth wide enough, as laid down by most authors, 
to admit, side-wise, the two fore-fingers. Many render 
themselves ridiculous ; but none except with abnormal 
facial apertures, are successful readers through such pro- 
cess. It is not necessary, and is unnatural. Try it 
before a mirror. Pupils do not need to be pouted and 
puckered up in lip and mouth and features to make 
correct sounds. In almost every case, even if awkward, 
they can, in a few minutes, learn correct natural sounds 
and expression from a teacher; and it is doubtful if a 
more ludicrous exhibition could be witnessed than that 
presented by a class of young ladies and gentlemen 
submissively undergoing these distortions. Avoid it. 

Moliere aptly satirizes the practice in a short scene of 
his Bourgeois Gentilhomme between Le Mditre de Phil- 
osophie and his pupil Mo?is. Jourdain. 

Le Mditre. — La voix, O, se forme en rouvrant les machoires, et 
rapprochant les levres par les deux coins, le haut et le bas — O. 

Mom. J. — O, O. II n'ya rien de plus juste. O, O. Cela est 
admirable ! O, O. 

Le Mditre. — L'ouverture de la bouche fait justement comme un 
petit rond qui represente un O. 

Mons. J. — O, O, O. Vous avez raison. O. Ah ! la belle chose 
que de savoir quelque chose ! 

Le Mditre. — La voix U se forme en rapprochant les dents sans les 
joindre entierement et allongeant les deux levres en dehors, les 
approchant aussi l'une de l'autre, sans les rejoindre tout-a-fait. U. 

Mons. J. — U, U. II n'ya rien de plus veritable — U. 
43 



PHILOSOPHIC ELOCUTION. 



Le Mditre. — Vos deux levres s'allongent comme si vous faissiez la 
moue ; d'oii vient que si vous la voulez faire a quelqu'un et vous 
moquer de lui, vous ne sauriez lui dire que — U. 

Mom. J. — U, U. Cela est vrai. Ah! que n'ai-je etudie plutot 
pour savoir tout cela ! 



PRINCIPLES OF PRONUNCIATION. 



ADAPTATION OF 
WORCESTER'S KEY TO SOUNDS OF LETTERS. 
VOWELS. 





Examples. 




Examples. 


A long .... 


FATE, AID, LACE. 


5 long .... 


NOTE, TOW, SORE. 


A short .... 


FAT, MAN, CARRY. 


6 short . . ■ . . 


NOT, ODD, BORROW. 


A long before R . 


FAKE, PAIR, BEAR. 


6 long and close . 


MOVE, FOOD. 


A Italian or grav 


' FAR, FATHER. 


O broad, likebr'd A 


NOR, SORT, OUGHT. 


A. broad .... 


FALL, HAUL, WARM. 


o like short V . , 


SON, DONE, MONEY. 


E long .... 


METE, FEAR, KEEP. 


V long .... 


TUBE, TUNE, SUIT. 


E short .... 


MET, MEN, FERRY. 


u short .... 


TUB, HUT, HURRY. 


E like A . . . . 


HEIR, THERE, WHERE. 


u middle or obtuse 


BULL, PULL, PUSH. 


E short and obtuse 


HER, HERD, FERVID. 


Vs short and obtuse 


FUR, MURMUR. 


i long .... 


PINE, FILE, FIND. 


u like 6 in move . 


RULE, RUDE, BRUTE. 


I short .... 


PiN, MISS, MIRROR. 


y long .... 


TYPE, LYRE. 


I like long e . . 


MIEN, MACHINE. 


y short .... 


SYLVAN, SYMBOL. 


1 short and obtuse 


SIR, BIRD, VIRTUE. 


Y short and obtuse 


MYRRH, MYRTLE. 




51 and oy 


B5lL, TOIL, BOY, TOY. 




ou and Ow 


B5t T ND, town, NOW 






ew like long u . . 


FEW, NEW, DEW. 






SYLLABIC 


GROUPS. 






Examples. 




Examples. 


TION ) ... 

I- like SHUN 

SION ) 


\ NATION. 


C!AL j 


/• COMMERCIAL. 


( PENSION. 


SIAL > like SHAL . 


/ CONTROVERSIAL. 


sion like ZHUN 


. CONFUSION. 


TIAL J 


(. PARTIAL. 


CEAN j ... 

} like SHAIs 
CIAN > 


\ OCEAN. 

( OPTICIAN. 


CEOUS ") 

cious > like shus 


/• FARINACEOUS. 
/ CAPACIOUS. 


GEOUS ) ... 

\ like jus . 

GIOUS ) 


j COURAGEOUS. 


TIOUS ) 


(. SENTENTIOUS. 


( RELIGIOUS. 







44 



AR TIGULA TION— CORRECTNESS 



Note. — The author accepts the responsibility of omitting 
certain sounds given by Worcester, disputed by some 
good authorities, and which, in their doubtful condition 
may be deemed cumbersome. For instance, the so- 
called " intermediate " sound of " a " — between a in 
mast and a in masticate, etc. — and which is made to 
run through about one hundred words in our language. 

It is a distinction very few make, few can make, and 
just as few understand when made. Elements had 
better be understood as of substantial sound than 
balancing between any two. Those, therefore, are 
omitted. 

The others are the "obscure" sounds which he attaches 
to all vowels in addition to the "obtuse" — e. g. Max, 
pakce, etc. 

There is no necessity for this obscurity in certain 
words. There is too much of it in all our pronuncia- 
tions, and the care should be to avoid it. If obliged to 
use the term liar it may just as well be clearly spoken 
War as obscurely liur or otherwise ; and so of palace, 
etc. Therefore, to avoid unnecessary difficulty, and 
tend towards definite principle, " obscure " sounds are 
omitted, leaving those who are not sufficiently confused 
with the " obtuse " to seek the former in the dictionary. 

Section I. — Correctness. 

Correctness as an essential of articulation must 
be based upon a true understanding and intelli- 
gent practice of the sounds and combinations of 
elements in speech ; and the above table supply- 
ing as it does the common, simple means of 
ascertaining such sounds, we may proceed with 

45 



PHILOSOPHIC ELOCUTION. 



exercises upon words which we think and trust 
will repay the student for the time bestowed. 
We sometimes little suspect the many errors we 
are guilty of and which orthoepists point out, 
even amongst hourly used expressions. There- 
fore, in selecting exercises in sounds and vocal 
tones, if the student learn to correct occasional 
inaccuracies which bad teaching, inattention or 
habit may have fixed upon him, there will be, 
at least, a double good effected. 

Where speakers or pupils have any peculiar 
fault of vowel or other pronunciation arising from 
carelessness, provincial, local or other cause, it 
is absolute loss of time and effort to attempt 
eradication or reform by written instruction; when 
for instance, as frequently found, among edu- 
cated classes — 

Cow is pronounced Caow — and Car is pron. Cah. 

Gale is pron. G^-el — and Gate is pron. G#et. 

Door is D^er-or D<?h— More is M^er or Moh, etc., etc. 

In the first place it is very difficult to make 
them believe that they have such fault, and they 
would never accept the intimation from a book. 
In the second place, when they do realise and 

4G 






AR TICULA TION- CORRECTNESS. 



admit the defect, it requires much honesty, 
patience and ingenuity of a teacher by constant 
exercise and example of the living voice to repair 
it. Such, however, is the only way it can effec- 
tively be done ; time and printed space would be 
wasted in attempt to do it here. 

Position for Practice. 

This is not a useless instruction, for if there 
is anything more than another that expe- 
rience has found elocutionary exercises and 
study do for pupils, it has been the adding of 
grace to mind and body. And the truly earnest 
student who neglects this instruction will miss a 
proportionate amount of voice improvement as 
well as grace of action and bearing that would 
certainly succeed to faithful practice. 

Stand erect, as given, page 33. Use full 
breathing, clear tone, slow time, moderate pitch 
of voice, give out no more breath than is con- 
verted into pure sound, and after taking the 
element with its catch-word, and pronouncing 
it several times satisfactorily, proceed with the 
exercises. 

47 



PHILOSOPHIC ELOCUTION. 



Note. — An erroneous idea possesses some ladies that 
strong and forceful exercises are likely to make their 
voices masculine, coarse or heavy. Such fear is abso- 
lutely baseless. The physiology of voice herein exhib- 
ited will prevent this possibility. The organism being 
proportioned to their physique and nature, will ensure 
the character and quality of the feminine voice. The 
force employed gives it but softness, flexibility and dig- 
nity consistent with its mechanism, in the same propor- 
tion and on the same principle only as like culture im- 
proves the masculine. 

At the head of each example is found the ele- 
ment and catch- word as marked by Worcester. 
The most natural of vocal sounds and the first 
element to be mastered is Italian A, which is 
the sound first made by us in life, and of which 
all other vowels are but modifications. It is 
therefore placed first in order. 

Before entering upon exercises let it be 
premised that a great tendency to monotonous 
"sing song" habits is often engendered by fluent 
connections therein, leading the mind and voice, 
as in measured readings, to lean upon one word 
until the next is reached, and thus, with suspended 
tones, bridging them across and producing a 
fusion or dovetailing of the tones, words and sen- 
tences. To avoid this is the especial end of the 
palpably disjointed, disconnected composition in 

48 



/ 



ARTIGULA Tioy— CORRECTNESS. 



the exercises here given, and which may other- 
wise appear to the reader trivial and nonsensical. 
In this form, however, the pupil will be less 
likely to anticipate the coming word, more likely 
to reject relations, and finish each as an individual 
term; while by ingenious arrangement we shall 
endeavor to effect that smooth and exact opera- 
tion of vocal mechanism without which entire 
success is wanting. 

Voice Practice on Certain Vowels. 

Note. — The italicised words in exercises are chiefly the 
examples intended and will be found to consist not 
only of those embracing the vowel or element proper, 
but other cognate or equivalent sounds. 

Italian or grave sound of A, as in far, aunt. 

This sound is the simple result of dropping the 

jaw about half or three-fourths of an inch and 

emitting a pure, forceful, rapid breathing against 

the vocal cords, which then give forth the true 

elemental "ah." 

Ex. — Pa-/# calms raara-^M, and aunt com-mands Charles 
to cxaunch the ^/-monds in the haun-ted paths ; his 
master de-man-ded a haunch of par-tridge of fa-ther, 
and laun-ted the laun-dress for salve from the ba,-na-na 
tree; Jar-vis forms sar-sa pa -ril- la in A-mer-i-ca; ma- 
nil-la balm is a charm to halve the qualms in Ra- 
ven-na; he a-bides in China, and vaunts to have 
saun-tered on the a-re-na, to guard the vil-la norths 
49 



PHILOSOPHIC ELOCUTION. 



from miasma and harm-txA ei-flu-v'w; they flaitn-ted on 
the so-fa #r-gu-ing pstf/ms, and for-mu-/# for jaim-d\ee 
in Mec-ca or Me-di-«# ; avaunt and run the gauntlet 
with your in am-o-ra-ta. 

Sound of E (short) as in met, men, sell, ferry. 

Note. — Make this sound clear and bright by very rapid 
action of the muscles, throwing the air suddenly into 
the larynx. The charm of this vowel is in the spark- 
ling sound that rings from it, especially when preceding 
/, m, n or s. 

Ex. — Tell the democrat to s<?nd his spl«z-did equipage 
and L?<z-ther <?-phod or b<?lt which he L?nt wh<?// he w<?/*t 
to JSpsom : a z<?tzl-ous /<?per cached the tf^-ficit with 
acetous growl, and s<ft acet-'\c acid in the ket-tle of eggs 
which ^^-hausted his dyspasia; get the non-pa-m'/ 
zmz-pons for the ra--on-dite he-ro-\ne ; the ap-pren-tice 
tor-gets the shek-els lent the deaf pre/- ate for his heriot y 
the clean-ly leg-ate held the tep-\d mead-ow for a j^?-cial 
home-steady ster-e-o-type the pref-ace to the ten-ets as a 
prel-ude to our ^-i-ble re-tro-j^^-tions ; jjw-ter-day I 
guess'd the fet-\d yeast ^r-ozped in T^bruary with an 
^-i-sodefrom the ^-ic into the pet-sis of the/^/-ants 
se?i-na\ the pres-age is im press' d on his ret-i-na instead 
of the k<?g of phlegm, for which he was amenable, and 
cleanly sent the cleanly clerk for cLftf/zliness wh^re splen- 
dor never rent the heaven. 

What ! threat you me with tell-ing of the king ? 
Tell him and spare not ! Look ! what I have said 
I will avouch m pies' ence of the king. 

To be guilty of misspelling words is consid- 
ered a disgrace to any one making pretension 
to education. Why should it not be as dis- 
graceful to mispronounce , to worry and huddle 

50 



ARTICULATION— CORRECTNESS. 



words together so as to make thern unintelligible ? 
Do not use these exercises as idle pastime ; you 
will find amongst them examples and corrections 
of many words commonly abused. Let every 
syllable be made distinct. To effect this take 
time, and keep the voice well supplied with air. 

Short Sound of I, as in pin, pill, miss, mirror. 

Ex. — The ser-vile spir-\t of a rep-file lib-er-tine is hos-tile to 
fem-i-nine n-del-i-ty ; the pu-er-ile dis-ci-pline of mer-can- 
tile r///-cane-ry, is the ar tif-\-cer of wi7-i-ta-ry des-po- 
lism; the ier-tile eg-\a\\-tine is des tin A for a ju-ve-nife 
gift ; the gen-u-ine pro-file of the Cap-tain is the an-tip- 
o-des of in-di-visi-&i/-i-ty ; the wind, in the vi-cin-i-ty 
of Mount Z/^-a-nus, is me-di'-ci-nal for the orig'-and ; the 
pris'-////<? ^own-tain of the ad-a-man'-t/«e spring is su\-lied 
with the guil-ty guil'-lo-tine / man is an ex'-quis-/& e-///- 
o-me of the in-ti-nife Di-#///-i-ty, and sacWf-i'cable at his 
will. Prophecy, tyranny and cy no-sure are not syno- 
nyms for Q^nets, hyssop and/jr-i-tes. 

Short sound of O, as in not, don, odd, bdrrow. 

Ex. — The sto\-\o\ hy-^/wp-a-thist was prod-i-gal of his troth 
yet practised al/^-athy on all ^casions. The dol-o-rows 
coll-'ier trod on the bronz'd ^3-e-lisk, and his sol-a.ce was a 
com-bat for om-e-\ets made of gor-geous cor-a\s; the 
77?/ a tile pro-cess of making rar-in gloo-ules of /r^z)-i-cal 
;;/<?;/-ades is ex-/r#<?r-di-na-ry ; the doe-'i\e George ior-got 
the yW-und c^e in his som-bre prog-ress to the m^s 
broth in yon-der trough, of kuowl-edge; beyond the 
flor-vS. hosts of mom-ing are the sop-o-rif-ic products of 
the /^/-i-days. 

51 



PHILOSOPHIC ELOCUTION. 



Section II. — Distinctness. 

Let it be impressed upon the mind of the 
student that distinct, as contradistinguished from 
refined pronunciation, depends on the clear and 
correct enunciation of the consonant sounds in 
words. 

First let it he clearly understood that only 
four consonants permit of prolonged sound. 
These are called the liquids, I, m 9 r, n, ng, 
and are strictly vocal sounds. With these ex- 
ceptions the voice in good expression rests only 
on the vowels. All other consonants must be 
struck suddenly, like the attack in music, and 
pronounced rapidly, but fully — as example, 

Sta/e, Sha/e, Rqa</, Ma^/e, 

Ho/e, Li£e, Bo^, Bro/£e, 

In all cases avoid drawling the voice, dwelling 
on the consonants or permitting their fusion with 
the vowels. Nothing adds more to slovenliness 
of reading or speaking than these faults. 

Take a striking instance of the abuse in one 
monosyllable — and — which assumes by mispro- 
nunciation these different shapes, at least, an, en, 
un, nd, n, thus : 

Ex. — Good-aw-bad; caus-<?#-effect ; loaves-^/z-fishes, hills- 
w^-groves; pen-z//z-ink, you-nd I, or youn-I; an-de- 

52 



AETICULA TION— DISTINCTNESS 



said ; hooks-^vz-eyes, wor-.f<?/z-worse, pleasure-w/z-pain ; 
cakes-/z-beer ; roun-^'/z-round, oW/z-young, voice-7Z-ear ; 
bread-^/z-butter ; vir-tu-zz-vice; J am -£<?zz- John ; solem- 
zzzz-sub-lime, up-'zz-down, pies-'zz-cakes. Avoid such 
glaring faults, and give to each letter its appropriate 
sound. 

Read and speak slowly, not drawlingly, but 
with determination to sound the letters. No 
good speaker articulates hurriedly. Mark 
this. A great fault in reading is rapidity of 
expression except of course in impassioned parts 
naturally requiring such. The more judicious 
deliberation given to pronunciation the more 
musical the voice becomes, because it has time to 
add the graces of speech, and will be listened to 
with more pleasure as well as more accurately 
heard at distance. 

Practice as before the following exercise in 

middle, full tone, clearly and perfectly uttering 

the consonants and completing each word before 

entering upon another. 

Labial Semi-vocal Sounds of wh — as in — when, wharf. 
Lingua-dental " th, soft, flat, as in this, then. 

" " " th, sharp, as in thin, think. 

Note. — Do not sound wh as w, but utter the aspirate first, 
as if written hw — hwen, hwat. 

Ex. — IV/iy does that whimsical w/ns-iler K//zee-dle the wMp- 
poor-wills with w/zeat ? Whi-lom the w/ieeh dipped 
the w/zz/-fle-tree, and w/zzV-tle-ber-ries were ze//zz"zV-washed 
53 



PHILOSOPHIC ELOCUTION. 



for wheat; the iv/iwi-per-ing whi-ning whelp, which, the 
whlgs wAi-ten-ed on the wharf was whelmed into a 
whirl-\-g\g as a w/zzV/z-wham for a 2£//z<?<?/-barrow of 
whis-ky. Thou saidst //zat zVzese are z7zine and the 
youths that they are theirs with which they cut the 
withes ; broth-ex says, where with-al shall i smo^Z/ze the 
scythe to cut the laths to stop the mouths of the moths 
with-out be-ing bozVz-ered? they gath-er wreaths be- 
neath the btfz^s, and shetfzVze their swords with sw#z7z-ing 
bands ; a zVzirsty thief //zz>j-/-eth for the path of dea//z, 
and win-ke//z at his thank-less thefts, as the a-the-ist 
doth of the-o-ret-i-cal truths; for//z-vvith the thrift-less 
throng, threw thongs over the mouth of Frith or Fourth, 
and z'/zwar-ted the wrath of the z'/zrz7-ling thun-dex; faith, 
quo//z the youth, the ba//z is my berth, the hearth is 
my throne. 

Guttural and Palatal Cognates G. K. 

Sound of g hard or guttural, before a, o, u, I, r, and 
often before e and i, as in get, give, gift. 
Ex. — A giddy goose got a ci-gar, and gave it to a gan-grene 
beggar ; Scro^-gins, of Brob-^/zg--;z<7g-, growls over his 
green-glass g#g--gles, which the big - ne-gro gath-er-ed 
from the bog-gy quag-mixe ; a gid-dy g"zg"-gling gixl glides 
into the grog-ery, and gloats over the gru-el in the great 
pig-g\n of the rag-ged grand-mothex, ex- claim-in g, dig 
or beg, the game is gone to the gz^bous moon. 
Gh in a few words has this sound : The g"/zast-ly hux-ghex 
stood a-ghast to see the ghost of the ghyll, eat the ghas- 
tly-gher-Y\ns in the ghos-tly burgh. 

Note. — Gh final is generally silent, as high, nigh, sleigh, 
weigh, &c. ; but the foreigner who attempts our tongue 
alone can realize their inexplicable pronunciations when 
preceded by certain diphthongs — as in bough, plough, 
dough, though, through, thoxough, boxough, xough, 
enough, txough, cough, chough, laugh, hough, shough, 
tough, dough, slough. Learn their eight different 
sounds as follow : 

54 



ARTICULATION— DISTINCTNESS. 



Tis not an easy task to show 

How o-u-g-h sound: — since though 

And hough (ck) and \ough (ch) and also slough (ou) 

And cough and hiccough all allow 

Differ as much as tough and through 

With no good reason why they do. 

Note. — G has sometimes the palatal sibilant sound of 
ZH, which comes into our language from the French; 
or, perhaps, all words wherein it is thus pronounced are 
direct importations from that language, and not yet 
Anglicised. 

Ex. — It was of his oro-i.e-ge\ (oro-tz-zha) I spoke, but as 
you have mistaken it for pro te-gee your bad-i-nage 
(bad-e-nazh) does not effect the prestige of the men-age 
(men-azh); The charge d'affaires went to the menagerie 
and put rouge (roozh) and g&m-boge (boozh) on his face 
before the mir-age. 

Z has generally this sound. S has it frequently. The 
az-ure ad-/z<?-sion to the am-^/v-sial en-r/^-sure is a 
r^-se-ate treas-ure of vis-ions of J>/eas-ures ; the sei-zure 
of the viz-ier is an in-^^-sion of the g/a-zier's di-w-sions ; 
the hosier takes the Mz-zier's cro-sier with a bra-sions 
and cor-w-sions by exposure, and treas-ures it up with- 
out e-/fo-ions or persuaj/on. 

Palatal Cognates of G are k c hard, ch (hard) q. 

Ex. — iTos-ci-us-/£o kept his comrades in the ^itch'en cor'- 
ridor with the Tartar j^Than as a r/mner'ical chime'ra. of 
the Chan who ^omplaisant'ly ^on'templated the chaotic 
coquzt'ry of the limekiln roterie who piaued on amount 
of pi^/ant mosses and quays in Munich practised 
piquet chiromancy and chiron'omy despite of magna- 
<:/zarta and courted a co^ette who wore the queue and 
moccasins of Louis Qiiatorze in C//em v nitz. 

Sound of x soft or flat, as gz — example, ex-ist. 
Note. — It has generally this sound when immediately 
55 



PHILOSOPHIC ELOCUTION 



preceding the accented syllable and followed by a vowel 
sound or letter h in words of two or more syllables. 

Ex. — The £#-iled shorter is ex-haust-ed by his ex-u-ber- 
ant ex-or-di-um, and desires to be ex-o/i-er-a,-ted from 
ex-am-'m-mg the ux-o-ri ous ex-ec-u-tive ; an ex-Sid ex- 
tf//z-in-a-tion into the ^£-ag-ger-a-tions of the aux-il-li-a.- 
ries ex-hib-its a lux w-ri-ant ex-ile, who ex-ist-ed an 
ex-ot-ic in ^^-em-pla-ry ex-a\ ta-t\on. The verb to exile 
has this sound, but the substantive, exile, has not. 

Labia-dental Cognates f and v — fife, vivify, fifth. 

Note. — There is occasional difficulty in these sounds 
owing to hasty pronunciation. Let the upper teeth 
positively strike and rest upon the lower lip in com- 
mencing each enunciation, and the difficulty vanishes. 

Ex.— The gaffer li/ted his wife's father from the coffin 
with hisjfalchion in T^bruary, and forced they^rrule ot 
hisy^rule in fetid fi gures be/ore the /ace of the/iitile 
^feticide. The /usil (z) /uchsia (or fooksia) was /acile 
proof of the/reeman's/ranchise (z) and the/ugueyfew 
tauntingly from hisyfage'olet. 

My lively nephew Philip Vandevanter believes in 
wga'ries and mtic'inal z^'rioloid. He taunts to have 
visited the wear and improved his wlvet wlise with 
wva'cious wrdigris (es) zwbose unison and z/^hement 
vzriYity. The mcounts visor, w-lute and wgnette are 
virtual mdence of the virtu (oo) of this w-lant z/2>-tuo-so. 

Labial Cognates B and P. 

Ex. — A ro^-in im-bib-ed ^lu^-bers from a bob-bin and 
^-bled for r^-bage ; the rob-ber ^la^-bed bar-ba.- 
rous-ly, and ba.m-boo zled the tab-by na-bob ; J^a-cob 
dab-bled in ribbons, and played hob-nob with a cob-ler; 
the bab-oon ba-by gab-bled its gib-ber-ish, and made a 
hub-bub for its bib and black- ber-ries; the ra^-ble's 
hob-by is to brow-bedX the bram-ble bushes for bit-ber- 
ries, and bribe the boo-by of his bom-bas-tic black-bird; 



I 



AR TICULA TION-DISTINCTNESS. 



peo-p\e put pep-per in j&^-per-boxes, #/-ple-pies in Clip- 
boards, and wh#/-ping pap-poo -ses in o/r^-pers ; the 
hap-py pi-per /laced his pee-rless pup-py in Pom-pey's 
s/op-shop, to be pur-chased for a /eck of pap-py pip- 
pins, or a/ound of /?//-ver-iz-ed /<?/-pies. 

Lingua-Dental Cognates D, T. 

D HAS TWO SOUNDS. FlRST DART, DOG, DUKE. 

Ex. — A dan-dy de-fraud-td his dad-dy of his jw-ond-hand- 
ed iW-dle, and dubbed the had-doc\ a la dy-bird ; the 
doub-\e head-ed pad-dy, nod-ding at noon-day, de-ter- 
mined to rid-dle /ed-ded hay in the fields till dooms- 
day ; the dog-ged dry-ads ad-dict-ed to dep-re-tftf-tions, 
robbed the day-da^sn of its dread-ed *#-a-dem, and erred 
and strayed a good deal the down-wan/ road to 
a^-den-^um, and they must die. 

Note. — D is silent in Ziand-sel, Ziandsaw, /land-some, 
yta</-ker-chief, and the first d in IVed-nes-day. Do not 
give the sound of j to d; as in grand-eur, verd-ure, 
ed-u-cate, ob-du-rate, cred-u-lous, mod-u.-late, but 
speak them as though written grand-yur, Szc; the same 
analogy prevails in na-ture, fort-une, &c. The following 
participles and adjectives should be pronounced without 
abridgment; a bless-^v/ man gives unfeign-^ thanks to 
his learn-^ friend, and be\ov-ed lady; some wing-ed 
animals are curs-ed things. Pronounce words in the 
Bible the same as in other books. 

The second sound of D is that of T; when at end 

OF WORDS, AFTER C, F, SS, P, Q, X, CH, AND SH. 

Ex. — He curs'd his stufifV/ shoe, and dipfi'd it in poac/i'd 
eggs, that escap'd from the vex'd cook, who watc/i'd the 
spic'd food with arc/i'd brow, tripp'd his crisped feet, and 
das//V them on the mas/i'd hearth ; she p\p'd and wisp'd 
a tune for the watc/i'd thief who jum/V into the sac&d 
pan, scratch 'd his blanc//V/face, and was eclipsV, cha/'d, 
piqued, attached, iax'd, cashed and rehashed. 
57 



PHILOSOPHIC ELOCUTION. 



Note. — T generally has this sound, yet it frequently has 
that of sh as in tial, lious, lion. In expectation of the 
sententious nuptials the optional notion of partial pronun- 
ciation in sentential ratiocination struck the ratio rations 
of the nation at the ra//<?/zale of rational Hagxtious 
retrospection. The Mt-tle tat-ler tit-tereo\ at the taste- 
ful tea-pot, and caught a tempt-'xng tar-tar by his sa-/z- 
e-ty; the stou/ 2z'-tan /ook a tell-tale ter-ma-ganf, 
and thrus/ her agains/ /he M-ter-ing fiw-ers, for 
/z£/£tf-ing the frit-ters; Ti-tus takes the jW-u-l#n/ out- 
casts, and A?j-ses them into nature's pastures with 
the fur-ties ; the guests of the hos/s at-tract a grea/ deal 
of a/-/«?7/-tion, and su£-sti-/u/e their pre-texfs for /<?/«- 
pes/s; the cov-e/-ous patt-ner, des-ti-fute of fort-une, 
sta/es that when the steed is s/olen, he shu/s the sta-ble 
door, lest the grav-i-/y of his ro-/«#-di-ty Zip his tac-tics 
into non-en-/z'/y. 
Ex. Could I embody and unbosom now 

That which is ;«atf within me — could I wreak 

My thoughts upon expression, and thus throw 

»Stfz//, /zmr/, mind, passion, feelings strong or weak, 

All that I would have sought, and all I seek, 

Bear, know, feel, and yet breathe, — into one word, 

And that one word were lightning, I would speak ! — 

But — as it is — I live, and die, unheard, 

With a most voiceless thought, sheathing it, as a sword. 

Section III. — Ease of Articulation. 

On this there needs no more be said than a 
recommendation to practice the exercises which, 
with other advantages, will give facile mobility to 
the vocal machinery, and upon this depends the 
easy delivery of word-combinations in speech. 

Grave disabilities often exist, overlooked, in 

58 



ARTICULA TION-EASE. 



each of ourselves, the simple result of imperfect 
development of easy muscular vocal action. The 
English tongue, now so polyglot, is capable of all 
sounds, and the student only requires patient, 
earnest practice of the following exercises, whose 
confused .and mixed arrangement of consonant 
sounds will train the muscles to easiest action : 

Note. — Mispronunciation, and mouthing-confusion of 
words may be considered worse than misspelling; for if 
the latter be found in manuscript or print, it may be 
corrected and understood, but the former, indulged in 
by a speaker, makes the matter often unintelligible and 
lost forever to the audience. 

Sibilant Sounds. 

Ex. — O'cero and SaWust, Sam .Slick and ^phoclei" .rat side- 
wise on several .sinister cen-tenanes and sesqui-centen- 
nials, discuss'ing .society's plaVid aces'cency and dila7<?- 
rating with facile pin^rs the <w/trif -ugal and ^ntrip'-etal 
forces which scr-rzted the <r/-rated r<?re-ments of the seta- 
ceous and .teto'se Sepoy. The .sibilant .silhouette sim'- 
pWnes the sinciput j/'multa'neo?/jly with the d^r'ultory 
cepYiaY-ic schism and semie cer'wme pharmaceutists sarce'- 
net. The scabious .srale'ne scaramouch .scarcely ^clud'ed 
the .srared separatist ere a series of ^q'uejtrationj' 
j//rieked s/iri\\y and sono'ious for the spinach while the 
suite of His EAvellen^ suited them.s-elve.s- to the soot 
around them, and sat jyual'idly .silent in stupendous 
squa'ior with pharma££«'tic ^rebrum. 

Lingua-Palatal Sounds of R. — Smooth and Rough. 

About the pronunciation, or rather non-pro- 
nunciation of this letter, there is a singular in- 

59 



PHILOSOPHIC ELOCUTION. 



difference. The prevalence to suppress, elimi- 
nate or absolutely rub this letter out of words 
would scarcely find credence with the untraveled 
enquirer. In many of our States, especially the 
Southern, they allow it no existence, unconsciously 
pronouncing war, car, far, door, four, etc., as if 
written waw, caw, faw, do, fo, etc , and it is 
hard to convince them that they do so. 

Note. — To make this smooth sound of r pronounce the 
word farm and dwell on the r—far-m. You will find 
the tongue moves upwards toward the palate (see 6, 
page 18). Then backward as the sound proceeds. A 
little practice, observing this movement, will repair its 
most inveterate abuse. Commence the sound deep in 
the throat. 

Ex. — The far-mers in for-mer years were the far- th est from 
for ring war, re-gar'-ding it as bar'-ba-rous and far'-ci- 
cal; the IVorfh-em-ers are gar-b\ers of hard-ware and 
pen/<?;r-ters of the <?r-rors of South-em-ers ; dire search- 
ers af-ter burnt #r-bors, and store the cor-xxexs of their 
/ar-ders with di-vers sorts of doY-Iars ; Charles goes to 
the /ar-ther bam, and gets lar-gex ears of hard corn 
for the car-tefs horses in Baltimore harbor. 

Note. — The rough or trilled sound of R must not be 
used except in emotional reading or speaking, and then 
only when it is followed by a vowel generally in the same 
syllable. Under other conditions it is rant and improper. 
Some find it difficult at first to trill the r. It is sim- 
ply done by sending up the air with force, striking the 
tongue as it rises and causing the tip to vibrate against 
the roof of the mouth, or forepart of the hard palate — 
page 18, fig. 6. For practice try rub, r-r-ub, r-r-r-ub, 
r-r-r-r-r-r-ub, bur-r-r-r-r-r. 
60 



ARTICULA TI0N—EA8E. 



Ex. — With rancorous raillery the rearing reprobate rever- 
berates his rib'aldry and 'retreats from his r<?gal throne 
to his ^<;-re-a-tion in the rook-e-ry; the op-/ra-bri-ous 
li brar\-&n, ra"-re-ant-ly threw the great gr/<r/-i-ron among 
the crock-e-ry with ir-re-//w<;/£-a-ble ei-front-ery ; the 
re-sult of which were ra-man-tic Yearns, M>k-en ribs, 
or cry ing children ; raund and r<?und the rug-ged rack, 
the rag-ged ras-cal drags the j-Zron j r/z/-noc-e-ros, while 
a ra/ in a ra/-trap ra/z through the rain on a rail, with 
a raw lump of red Uv-er in its mouth. The riven rocks 
are rudely rent asunder, and the rifted trees rush, along 
the river, while hoa-ry bo-ra-as rends the robes of spring. 
and rat-t/ing thunder raars around the regions. 

Mixed Articulations. 

Note. — Let pupil pronounce slowly with a breath taken 
between each word, and expended on succeeding word; 
then after a while more rapidly, still breathing between, 
and continue practice until all can be pronounced easily 
and fluently in conversational tones, with natural breath- 
ing, full and forceful. 

Ex. — Rifles, dazzl'd, sparkl'd, mingl'd, rattl'd, troubl'st, 
trifl'st, shov'lst, kindl'st, struggl'st, puzzl'st, trampl'st, 
shield'st, trembl'dst, revolv'st, and shov'ldst, ended'st, 
madden'd, kindl'dst, trirl'dst, trampl'dst, involv'dst, ming- 
l'dst, stifT'ns, twinkl'dst, wak'ns, fondl'dst, dazzl'dst, rat- 
tl'dst, deaf'n'd, wak'n'd, whit'ns, rip'n'd, opens, sendst. 
wak'n'dst, lighten'dst, charm'dst, ripen'dst, hearken'dst, 
doom'dst, or absorbst strength'ns, regard'st, madd'n'dst, 
curb'dst, hurl'dst, return'dst, strength'nd, wrong'dst, 
lengtben'dst, struggle'dst, act'st, lift'st, melt'st, hurt'st, 
want'st, shout'st,touch'd, parch'd,help'dst, tasks,bark'dst, 
touch'dst, rattl'st, bursts, grasps, prompt'st, mists, bask'st, 
nestl'st, depths, enlist'st, droofst, adepts, fifths, langhst, 
lessenst, rafts, prism, puzzles, overwhelm'st, lookst, posts, 
iar.ts, elms, bulbs, wolves, involved, buds, asps, desks 
and cubed, icebergs, lands, arms, satst, patched with 
61 



PHILOSOPHIC ELOCUTION. 



forms of horns, webs, lodged, look' st, acts, texts, he/p'st, 
twelfths ^milk'st, halt'st, filched, Xwifst, attemptst, charm 'st, 
precis cts, and scorn st, arch'd, wa.nt 7 st, Pinched, th'uikst, 
bursts, warp'st, dwarf st, ernbarh'st, hurtst, work'st. 

These exercises are no doubt irksome to the 
aimless or careless student, and by such will pos- 
sibly not be followed; but to him who is in 
earnest and has direct object, their prosecution 
for some few months will mark his success so 
positively that his thoughts will revert through 
life with gratitude and pleasure to the time spent 
therein. These facts are written as experienced 
truths seen in the past of a life, through which, 
looking back, the writer would not forego, as 
amateur, the pleasures thus secured for any of 
the many that literature has granted. Let the 
student persevere. 

Ex. — Thou waft'd'st the rickety skiff over the mountain 
height cliffs ; and clearly sawst the full orb'd moon, in 
whose silvery and effulgent light, thou reef'd'st the hag- 
gled sails of the ship-wrecked vessel on the rock-bound 
coast of K.a.m-scat-ka. Thou wreath 'd'st and muzzVd'st 
the far-fetch' d ox, and imprison 'd 'st him in the volcanic 
Mexican mountain of Pop-o-^/-a-pe/l in Qo-t\-pax-\. 
Thou prob'd'st my rack'd ribs and trifl'd'st with his 
acts, that thou black' rist and co?itaminated'st with his 
filch d character. Thou lov'd'st the elves when thou 
heard' si and quicHn'st my heart's tuneful harps. Thou 
wagg'd'st thy prop'd up head, because thou thrust'd'st 
three hundred and thirty-three thistles thro' the thick 
of that thumb, that thou cur' d'st of the baxb'd shafts. 



ABTICULA TION— ELEGANCE. 



Section IV. — Elegance of Articulation. 

This may be considered the sum of all the 
others, — correctness, distinctness, ease — supple- 
mented by smoothness, grace and finish, which 
reasonable perfection in the former only can effect. 

With this must be exactness of accentuation, 
clear, fluent enunciation of vowels in their sylla- 
bic relations, and an avoidance of that careless, 
slovenly, slipshod dismemberment and mutilation 
of words so much more common than we think, 
until we begin to give it special attention. 

Too much cannot be urged in this regard, and if 
elocution, or reform in reading, speaking, etc., 
were to be confined to one act ; if the pupil were 
to be limited to one direction; that direction 
should be, consult more diligently your dictionary; 
scan more carefully the accents, diacritic-marks, 
etymology, definitions, and faithfully attend to 
the pronunciations and instructions therein given. 

This would be the best elocution that could 
be performed in one act, and it is a performance 
rarely put upon any stage. 

In furtherance of the important work of this 
section, let the student thoroughly consider the 
following cautions, which are the result of care- 

63 



PHILOSOPHIC ELOCUTION. 



fill experience, and whose remedies will be found 
based upon and adapted from highest authorities. 

Memorabilia. 

A very common and vicious error is the strained 
habit of giving to a and the, when used as unemphatic 
' words, the long vowel sound. Avoid it. 

The former is the first word overlooked in your dic- 
tionary, and of it Webster there wrices : " When used 
emphatically as a noun or article it is pronounced a (long) ; 
but whenever it occurs as an unemphasized word its regu- 
lar sound is that of a in far, somewhat shortened." 

Of the latter — the — "When this word sta?ids alone 
or as emphasized it is pronounced like the pronoun thee; 
but before a word beginning with a vowel it is pro- 
nounced thi, or nearly so, and Ihu before a word be- 
ginning with a consonant sound." 

If educated men who often make this mispronuncia- 
tion would hear themselves as others hear them they 
would surely check the habit. There is no authority for it. 

Another very common error is to confound with and 
withe. The former, a preposition, must be pronounced 
with, giving th the subtonic sound, as th in this. 

Withe is the substantive, and by all good authorities 
pronounced with the atonic sound of th, as in thin. 

The inattention to faithful pronunciation of many 
monosyllables, such as of, on, for, from, and, not, 
nor, it, or, God, is a great blemish in our speech, and 
the whole of the above occur so frequently, scarcely a 
sentence without one, that they mar the general pro- 
nunciation and grace of expression much more than we 
at first believe. The difference in character of some 
sentences, where they lie thickly studded, is amazing 
when read correctly and incorrectly. 
64 



ARTICULA TION— DISTINCTNESS. 



Note. — Many errors are perpetrated from want of 
thought, early or careless habits, bad instruction, etc. 
Such is not excuse for the scholar. They should be 
avoided and reformed. Let teachers take note and 
guide those committed to their charge. 

Do not pronounce */ like il, nor */ like it, nor est 
like ist; as cru'il for cruel, bas'k// for bas'k*/, for ist for 
iox'est. 

Fuel, duel, bush V, yet, get, mar'k*/, hatch'*/, rack'*/, 
rock"*/, riv'ulet, hon'*f/, bold' est, laxg" est, small' est, 
youngest, strong est. 

Do not pronounce css like iss ; as good' uiss for 
good'«*,M, bold'niss for bold' ness. 

Hardiness, bad 1 ness, harm* /ess, care'/ess, clear' ness, 
ful'ness, sea.m f stress, host'*j\$", empress. 

Do not pronounce ed like id or nd; as unit' id or 
unit'ud for unitW, vrovid'id or provid'?*^ for providW. 

RestW, residW, decidW, regards/, exhibitW, cere- 
brate/, exeit'ed, delightW, support'*;/. 

Do not pronounce cnt like unt, nor ence like ««**/ 
as si' /unt for sl'/cnt, sentience for sen' tence. 

Pronounce orudent, decent, mo'ment, garment, mon'- 
umcnt, government, superintend'*/*/, par'lia///*/z/ (par li- 
ment), sixpence, na'tience, expe'rience, superintend'*/**:*, 
magnifiV*;^*, sentiment. 

Do not insert the sound of short u before a final 
my as hel'um for helm, chcis'um for chasm. 

Pronounce spasm, whelm, rhythm, phantasm, bap'- 
tism, o&'tnotism, elm, film, overwh*///*', worm. 

Note. — It will be found that the most defective con" 
sonantal pronunciations are generally made upon final 
syllables ending in d, t, r, s, therefore have a care in 
their enunciation. 

Do not omit the sound of d when preceded by / or 
n ; as field, friend, nor the terminations nds, Ids, as 
65 



. PHILOSOPHIC ELOCUTION. 



wilds, not wilz, fields, not felz. The neglect of these 
final letters adds much to graceless reading and vul- 
garity of speech. 
Ex. — Stand, the ground's your own, and with strong 
hands hold and defe/M 7 the field against all demands, 
for on such depends the lands and fields your grand- 
sires hold\y not blindly but from hand to ha#</ have 
he/</. The child's grandmother scolds the ^boMiess of 
the old nurse who had not told of the scalds which she 
beholds. 

Be careful to pronounce the final sounds of /, ct, 
cts, sis/ as exactly, not exackly, per N fee/ly, not perfee^ly, 
acts, not acks, facts, not fac-l^ pests, not pes's, hosts, 
not hos's. 

Ex. — It is a fae/ that he acft exactly in all respee/j- as if 
those he accosts with his jests about ghosts were posts, 
and he abstractly boasts of corapa^j and traefr which 
he instrue& his host to inspect, while in his fists he at- 
tempts to twist the lists and insi^i" that coasts are cos/i\ 

Do not suppress the sound of e or of i before / or 
n in those words in which it should be articulated ; as 
lev I for lev el, civ I for civil, kitclin for kitch'e?i, lat'n for 
lat'in. Such is regarded as a vulgarism. 

Pronounce travel, novel, barVe/, par'ee/, hov'e/, 
chap'e/, quarVe/, sor'rel, pexicil, chicVe?i, linen, sud'- 
*/e«, mit' ten, sat" in. 

The following are nearly or quite all the words of this 
kind in which the e is properly omitted, before /, viz : 
barbel, betel, chattel, drazel, drivel, easel, grovel, hazel, 
mangel-wurzel, mantel, mispickel, mussel, navel, ousel, 
ravel, rivel, scovel, shekel, shovel, shrivel, snivel, swingel, 
swivel, teasel, toggel, tovvsel, weasel, and, according to 
a few orthoepists, model. 

Do not sound e or i before n or / in those words in 
which it is properly silent ; as e'ven for e'vn, heaven for 
heav'n, ha' sin for bas'n, hazel, for haz'l, e'vil for e'vL 
G6 



ABTICULA TIOW— ELEGANCE, 



Pronounce ha'ven, sev'en, gold'en, o'pen, short'en, 
woodmen, wak'en, wid'en, frozen. 

Dental Sibilant Cognates C, Z, X, S. 

Note. — There are three words in our language end- 
in ice — sice, suffice, sacrifice — in which, only, the c takes 
the sound of z. These form unnecessary difficulties, 
are comparatively unknown to the masses, and even to 
scholars. As they are so few in number, and unsup- 
ported by any principle or etymological necessity — not 
even useful to distinguish noun from verb — they had 
better give way to uniform analogy; but are noted 
here, with their compounds, in authorized pronuncia- 
tions. There are some others of different endings, as 
follow : 

Ex. — While playing at sice, he discerned a sacrifzV*?, discern- 
ing which sufficed to discemably surprise the sacrifice it- 
self on the altar of sacrifice. The sacrificer discerns as 
matter of discernment amongst d/^rnable things that 
these are all the words sacrificing the sound of c to z, 
and that sufficeth. 

S AND X HAVE FREQUENTLY THIS SOUnd of Z. 

The resident prcf/dent redded in isolated houses/ 
and before rera'gning the Keyj" of Isl&mism, his pains 
from na^al causes, disarmed his greasy friendi" who dis- 
bursed his meani- and disdained to disguise their dismal 
phizes', or to disband the p£miires which rmimed their 
bz/iiness in the gmly beards of Xenophon and Xerxes. 

Do not give to the Italian A when unaccented 
the sound of short u / as ubase' for abase" , nrouse' for 
arouse '. 

Nor to Long E, when unaccented, the sound of 
short it / as uvent' for even?, sociality for soci'ety. 

Nor to Long O, when unaccented, the sound of 
short u / as nbey for obey ', prupose" for propose\ 
67 



PHILOSOPHIC ELOCUTION. 



Nor to Short O, when unaccented, the sound of 
short k; as ubscure' for obscure, cummit'tee for committee. 
Ex. — They abated and bridged the fanatic character in 
which the report bounds, and amused themselves by 
educing and aggravating society with a variety of 
impieties and emotional events which provoked and 
promoted opinions ^casionally <?/posed to sobriety. 
He ^served and obeyed the ^zzditions, composing in 
obedience the tfbove melody, for which the ^m-mittee 
in its anxiety pwposed to provide position. 

Give to the vowel a in the unaccented terminal 
syllables al, ant, ance, its short sound, but do not make it 
too promine7it— pe'dal, ped'al, ped'ant. 
Ex. — A petulant syconhant flagrantly ignorant of nations/ 
or politic/ ordin<37zce made significant, covenant with 
the tyrant for eternal, final vengeance on the admira/, 
whose comics/ funeral from the hospital was an instance 
of dnssonant extravagance or criminal delivem;?^. 

By no means give the drawling sound aoo for on; as 
caoo for cow, haoos for house. 
Ex. — How many confoz//zd the sou/id of ou with a mixture 
of Italian a and oo, uttering araoond instead of around, 
also ab#oot in lieu of about, pron^zz/zcing also tooon for 
town, fooond for found, p^oond for nound, until the 
sounds how and now and shout and rout s^oond nothing 
like their proper sound. The count feeds his hounds 
with trout that abound around his grounds in the 
coimty, which the c<?z//zcil in official gowns counted and 
found as btf///zdless as lands of the crown, ranging in 
thousands up and down* 

Noiselessly as the spring time 

Her crown of verdure weaves, 
And all the trees on all the hills 

Open their th^z/sand leaves, — 
So, without sound of music 

Or voice of them that wept, 
Silently dozun from the mczmtain crozvn 
The great procession swept. 
63 






A B TIG ULA TION— ELEGANCE. 



Do not sound sh like st; as stub for shrub, stink for 
shrink. 

Ex. — The shriveled shrunken shrew shrieked shrilly for 
sh? imps and j7?fub at j/zrovetide, and drugging her 
shoulders shrank down before the shrine shrewdly 
showing the shreds of her shriving shroud. 

Do not suppress the vowel sounds in unaccented 
syllables ; as ev'ty for ev'et-y i his' try for his'to-ry. 

Ex. — Sal'a-ry is not cel'e-ry, and mem-o-ry from ^zV-to-ry 
collects the des'oe r&ie ?nis-e-ry which <?z'-e-ry vic-to-ry 
/<?r-haps has caused in <f£'ery so ci-e-ty and J c anv '-i-ly 
where /vz-ma-ry ^r-e-mony <?/'-din-ar- ily made ;z<?//z'-in- 
atives of dv/'jec-tives pti-rna-rily scat-ter-ing in mock'ery 
the crock-ery in the //'-bra-ry ^wz'-tra-ry to all pro- 
/rz v -e-ty. 

Do not pronounce o-w like z^r or z/7z ; as hol'lur 
or hol'luh for hot low t shad'ur or shad'uh for shad'ow. 

Ex. — I intend to-morrow to borrow the yellow wheel- 
ba.r?vw from that fel/o&y who hol/ozx/ed or halloo'ed for 
the widow's nillozv and threw his shaczW/ on the narrow 
furrow. The sor/va/fiil swal/<7W was swallowed by the 
mel/ow crow sitting on the bow window. 

A common fault is too much stress on unaccented 
syllables or on a syllable having a secondary accent ; 
as pri'??ia'ry for pri 'niary, p?i??iarily for pri' '??iatily \ cere- 
mo'ny for cet'emony. 

Ex. — I give my zVrtimony that this word and zW-'ritory, 
prom'issory, /;z^/'rimony and ceremony are ordi'narily 
and improperly pronounced testimony, promissory, 
matrimo ny and cerem</ny, while o/dinary, pri'mary, 
primarily, secondary and iw'ondarily are more fre- 
quently than correctly pronounced ordinary, ordina- 
rily, primary, primarily, secondary and secondarily. 



PHILOSOPHIC ELOCUTION. 



Do not sound lion or sion like shin, nor too strongly 
like shon, but give to such endings the clear, short, 
bright sound of shun, the vowels taking the short // 
sound as of o in son, done, money. 
Ex. — His pre'dilec#<?/z for ele-gi'ac exhorta'/fo/z was a 
heinous dereliction and caused great destruction. The 
Tea.Yiza.fwn of his resignation and renuncia.tion made 
portentous exc\a,mation throughout the nation to which 
in his passion for rec -re- a.-tion he had given re'crea/z^w 
without trep'ida,-fion. 
Note. — Avoid a hurried utterance, and every thing like 
faltering, whining, mincing, drawling, sleepy, unvaried, 
monotonous, artificial, formal, pompous, heavy, theatri- 
cal, self-complacent manner. Read and speak in clear, 
flexible, sonorous, bold, forceful, open, brilliant, spark- 
ling tones as the sentiment may demand. 
Ex. — With deep affection and recollec/ftw 
I often think of those Shandon bells, 
Whose sounds so wild, would, in days of childhood, 
Fling 'round my cradle their magic spells. 
He was an unamiable, disrespectful, incommunicative, 
disin^j?»uous,y^rmidable, unmanageable, inferable and 
pusil/^imous old bachelor. Get the XaXest a.mended 
edition of Archim/des or Thury^-i-des, and study the 
colonist's best interests, holding him amenable for 
tyrannic attempts against the cardinal. 

there are hours, aye moments, that contain 
Feelings that years may pass and never bring. 

1 would never kneel at a gilded shrine, 
To worship the idol — gold; 

I would never fetter this heart of mine, 
As a thing — for fortune sold : 
But — I'd bow — to the light th't God hath given, 
The nobler light — of mind; 
The only light, save that of — Heaven, 
That should free-will homage find. 
70 



CHAPTER V. 



DEFECTS OF VOICE. 
Section I. — Nasal Tones. 

The office of the nasal cavities in phonation 
is to give increased intensity to upper partial tones 
— fig. 2, page 18. Consisting as these cavities 
do of a number of small channels, — three on each 
side, — which have little intercommunication, nasal 
sounds proper are high and shrill, so that when 
the voice sounds fully in the nose the fundamental 
note is impoverished and nearly drowned by the 
predominance of the high partial tones. Hence 
the well-known " twang" or discord, the high 
nasal tone, so disagreeable in speech and utterly 
ruinous to singing. 

These nasal harmonics are, however, of real 
value when properly controlled, and a due pro- 
portion must generally be present to add bril- 
liancy and variety to vocal timbre, particularly 
words containing m, n, ng, so frequently occurring 
in our speech and making true musical accompa- 



PHILOSOPHIC ELOCUTION. 



niment to harsher notes. To obtain the pleasant 
blending and avoid excess of nasal tones, should, 
therefore, be a strong desideratum of the pupil. 

The existence of undue and offensive nasal 
tone, so common in many parts of this continent, 
is consequent upon a sluggish condition of the 
uvula, and its cure or eradication must depend 
upon proper exercise, invigorating or strengthen- 
ing the muscles of those parts, so as' to remove 
the cause. It will be easily seen from what has 
been shown above that when the uvula is lax 
or sluggish in its action, hanging too low or 
too long over the root of the tongue, abnormal 
conditions of voice must ensue — fig. 14, page 18. 
The column of air from the larynx which should 
find direct projection from the mouth is arrested 
in its upward movement, divided or separated in 
its entirety, and only part of it finds passage 
outward, while part is thrown back upon the 
pharynx and upwards into the nasal cavity or 
chambers. The nasal ducts being unable to 
carry the surcharge through the nostrils it re- 
turns, and irregularly mingling with the still 
outrushing air, creates therewith a confusion 
in the resonance cavities of the pharynx, mouth, 
eustachian tubes, etc., as well as interfering 

72 



VOCAL DEFECTS-NASAL TONES. 



with and dulling the vibrations of the vocal 
cords ; just as a sheet of paper or foreign sub- 
stance, however light, would effect the vibrations 
of a piano string if thrown upon it. This ram- 
bling and confusion of sound, affecting the vocal- 
ized air in its articulated condition, is the a nasal 
twang" complained of. The common idea of 
this is that it is the result of speaking through 
the nose, which is quite erroneous. The proof of 
this is instantly present by the simple act of 
pinching the nose between the fingers while 
speaking, thus closing the possibility of emitting 
sounds therefrom ; and the experiment shows an 
unmistakable nasal twang. Thus, then, like many 
popular errors, this " nasal twang," or spaaking 
through the nose, is a misnomer, begetting its 
name after the manner of the Latin etymological 
paradox — lucus a non lucendo. It is called "speak- 
ing through the nose" because the speech does not 
get through the nose. 

And now the remedy. The true use of this 
pendulous and mobile organ, the soft palate and 
uvula, is to cut off communication between the 
upper part of the pharynx and the nasal cavity 
during vocalization. To effect this purpose, its 
muscles, when properly controlled, draw it up- 

73 



PHILOSOPHIC ELOCUTION. 



wards and backwards till it meets, or nearly meets 
the back wall of the pharynx — fig. 15, page 18- — 
of allowing no more air in that direction than the 
nasal ducts can accommodate; and a still suffi- 
cient opening to permit of the nasal resonance 
necessary to the brilliancy or sparkle, which, as 
its function, it supplies to the lower tones. 

Properly directed exercises and judicious prac- 
tice will in a short time give the pupil such con- 
trol of this member that by the same will-power 
which sets in motion any other muscle, or set of 
muscles, he will have the ability to remove the 
pendent obstruction, and the odious nasal sounds 
shall no more be heard. 

For this purpose practice freely the following 

exercises, forcing the column of air strongly 

through the glottis, bracing well the muscles and 

letting due proportion of voice find its passage 

through the nasal ducts. Let the pupil practice 

until he can clearly distinguish the brightness 

and sparkle of the nasal sounds in the n, m, and ng. 

Lingua-Palatal and Nasal Sound — N. 

Ex. — The sp/<?/zdor shines on endless elms and hangs in 
denseness on the enchanted haunts whence the en- 
gaging duenna, sends ^wjdiments to non-residents and 
^listed members of the convention, where ?nen made 
miim-mies of gam-mon, and moon-beams of gum-vny am- 
74 



VOCAL DEFECTS-NASAL TONES. 



mo-ni-a, for a "pre-rm-um on som-nam-bu.-\\sm ; mind, 
manners and mag-na-?iim-\-ty a-7/ztf/-ga-mate <?/#-blems 
for an <?;#-ni-um ^z/^-er-um ; the malt-man cir-cum-dwz- 
bu-lates the cimme-ri-an ham-mock, and tum-bles the 
mur-mMX-ing mid-ship-man into a mam-mi-form d\lem-ma. 

Note. — We sometimes make mistakes through an exces- 
sive precision, giving always the same sound to letters 
without considering their varied combinations. As ex- 
ample, n has frequently the sound of ng, where we labor 
to pronounce it n, as bang-quet, not ban-quet. This 
occurs chiefly when it is in the accented syllable and 
stands before hard e, hard g, k, q or x. 

Nasal- Palatal — ng. 

Ex. — G?«-gress con-quers the strang-ling don-key, and 
sanc-tions the lank can-clave in punc-til-ious eon-course ; 
the san-guine un-cle, anx-ious to /in- ger much long-ex 
among the fink-ling in-gots, jin-gles his rin-kled finger 
over the ///z-guist's an-gu-lar shrunk shanks at the ban- 
quet in the bank; in cultivating and strength-en- \ng the 
un-dex-sfand-ing, by stud-y-ing, read-'mg, wri-ting, cy- 
pher- ing and soe&k-ing, I am t/iink-ing of con-tend-ing 
for go-ing to .wag'-ing meet-z'/igv in xe-/in-quish-ing your 
stand-ixig in the cnso-ing Ixy-ing pan, by jump-z'//£-<?-ver 
the winding rail-tag*, you may be sail-zag" on the boil-///g 
o-cean, where the /imp-ing her-ri'ig are skip-///zg" and 
danc-ing around some-thing that is laugh-///^ and cry-ing, 
sleeo-ing and wa-king, lov-ing and smi-/*fttg r . 

Note — The following is one of the best possible exer- 
cises for the purpose here contemplated as well as for 
general voice culture and must be frequently used, with 
strong action of the abdominal muscles. 

On diphthongs, ou and ow, as in bound, town, now; 
" 01 and oy as in boil, toil, boy, coil. 

Ex. — He toiled and nWled and iound no )oy; then b^zled the oil 
and broiled the boy in sour alloy/ and yet the coward found 

75 



PHILOSOPHIC ELOCUTION. 



not power to cry aroint thee, noisy ow\; the crowded 
house down, whose acoustic halls the jointed joists were 
soiled with noisome oil contained a dower in which the 
giaour enshro?tded in power, endowed the Count's prowess 
and bound the raze/els on his re-wwiied ^z/zzsellor, whose 
cow bowed down devoutly and dew^red sauer-kraut 
with a drowsy mouse on the w^/mtain. 

Sounds of A short — as in man, lad, carry. 

" A LONG BEFORE R FARE, BEAR, PAIR. 

Chanty forbade the man to quaff or chaff at the l#ds hat 
that had black tassels attached to the band. He had a 
handiul of tfjptfragus, and a barrel of apples in that 
barrow, which had sat in the granary since ]auua.ry l#st, 
and the charlatan chaperon chatted of pendent pendants, 
em&natit from eminent masters The ^zptious ^zpu- 
chins who iYzte there adding paraphs barely received 
the fa?e which {airly was th<?/is, and dared not in des- 
pair offer a prayer for a larger sruzre The fairy pair 
charily prepared their lair in fairy land, and scarcity 
was s^rcely ever there. The fair spoken, but care- 
worn fair-one fairly rent the air, and garish eyes out- 
stared the g<2/ishness of glaring glariness. 

No further exercises need be added here as the 
tendency of all, especially those under force, pure 
tone and orotund, is to eradicate this offensive 
defect. 

Section II. — Stuttering. 

This disorder, technically named psettism, 
though differing widely from stammering, is 
popularly confounded therewith and used syn- 
onymously even by educated people. It is, how- 

76 



VOCAL DEFECTS— STUTTERING. 



ever, much more complicated, and its physiological 
relations more embarrassing. Yet, where no phy- 
sical, organic disability exists it easily yields to 
intelligent treatment. 

Notwithstanding its study from the days of 
Hippocrates to the present, its originating causes 
are not well ascertained. In many cases dating 
from infancy it appears to be organic. Numbers 
date from convalescence after measles, fever, 
whooping cough, etc. Many are hereditary ; some 
r result from imitation or mocking others ; some 
from ill-usage at schools; and very many are 
quite unaccountable. The relative proportion as 
to the whole population is less, however, than one 
in three thousand, and in females not half so preva- 
lent as in males. Like other experiments in sci- 
ence, its treatment has been various, often claiming 
surgical aid. Of this, now rarely resorted to, it 
will not be expected to treat here ; and we shall 
confine ourselves to the mechanical and gymnastic 
or physiologic remedies which alone are effective 
for our purpose. It is pretty well ascertained that 
stuttering was the prevailing difficulty with De- 
mosthenes, and his remedy of the pebbles and 
similar appliances has been advised by many. 

77 



PHILOSOPHIC ELOCUTION. 



In fact, as a means of developing, strengthen- 
ing, supporting and giving flexibility to muscles 
of the tongue, whose defective action is often cause 
of imperfect utterance and pronunciation, the peb- 
ble exercise still contains as much good sense as 
most of the mechanical experiments attempted. 

Confirmed cases of this disorder exhibit spas- 
modic stoppages of articulation, accompanied by- 
convulsive muscular winking of the eyes, contor- 
tions of the limbs, face and features in obstructed 
utterance ; also rapid reiterations of syllables or 
letters, generally explosive consonant sounds, with 
a palpable lack of breath to complete the words. 

The most careful and important investigations 
have determined that psellism may be the conse- 
quence of imperfect action of any one or more of 
five different groups of muscles, viz : 1. The mus- 
cles of the chest; 2, of the larynx; 3, of the 
tongue ; 4, of the jaw ; 5, of the lips ; and these 
may be separated or combined. Additional causes 
may be also a mental influence, a nervous derange- 
ment, a momentary want of co-ordination between 
nerves and the muscles of speech, which intercepts 
volitional concerted action of the vocal organs. 
Sometimes it is a spasmodic action of these mus- 
cles, under which they take a rigid, fixed position. 

78 



VOCAL DEFECTS— STUTTERING. 



Or again, choreic, when, instead of normal action 
and against the will, they execute a series of tem- 
porary, rapid, automatic and eccentric movements 
destructive of connected utterance ; but of all the 
prevailing causes it is concluded that the action 
of the chest and lungs is mainly at fault. The 
former by irregular muscular contraction col- 
lapses, rapidly expelling the air from the latter 
through the open glottis, and thus instead of 
breath being economized for necessities of speech, 
it becomes occasionally exhausted before articula- 
tion has commenced ; hence the nervous gasping 
and breathless effort of the speaker. He begins 
too late; the supply of air, to strike the vocal 
cords into vibration, is wanting, and no voice can 
be made until the lungs, replenished, furnish 
power. Nervousness and other causes mentioned 
combine to make this action habitual ; hence, like 
any other habit, it becomes the quasi-normal con- 
dition of the speaker, and stuttering is established 
as a grievous defect. . 

It will be manifest from what has been said 
that this is a somewhat complex affection, requir- 
ing intelligent judgment in its diagnosis and subse- 
quent treatment. Yet viewed from above stand- 
points, its remedy is obvious and comparatively 

79 



PHILOSOPHIC ELOCUTION. 



simple under the following process, which the 
author has found eminently successful. 

Make the student intelligently familiar 
with the Physiology of Yoice and Breathing, 
chaps. II and III, so that he may properly under- 
stand his exercise. Then insert between the front 
teeth a small wedge about three-quarters of an 
inch in length, to keep the mouth fairly open. 
Select such exercises as will compel and facilitate 
breathing, e.g. pages 170-171, and let him prac- 
tise thereon, breathing freely always between 
every syllable or word, — and delivering each in 
full expulsive or explosive form, — heating time of 
each movement with hand or foot, while clearly 
articulating each sound. 

After about twenty minutes exercise thus let 
him attempt the declamation of some strongly 
rhythmic prose or well marked metrical verses, 
requiring full orotund quality of voice. Let him 
be careful before commencing to take always a full 
inspiration and watch at every pause that he does 
not omit to replenish the lungs with air for that 
paid out. See that he faithfully observe all pauses 
and never speak more than four or five words 
without taking breath. Use the following as an 
exercise, taking breath at every separating mark. 

80 



VOCAL DEFEGTS-STUTTEEING. 



Ex. — To be-or n'ot-to be ;-that-is the questions 
Whether-'t is nobler-in the mind-to suffer 7 
The slings-and arrows-of outrageous fortune' — 
Or-to take arms-against a sea-of troubles, 
And-by opposing'-end x them? — To die;-to sleep v ; 
No more;-and-by a sleep'-to say-we end 
The heart-ache'-and-the thousand-natural shocks 
That flesh-is heir to ,-'t is a consummation 
Devoutly- to be wished.- To die;-to sleep ;- 
To sleep';-perchance to dream — ay\ there 's the rub; 
For-in that sleep of death-what dreams may come 
(When-we have shuffled off-this mortal coil) 
Must-give us pause :-there 's the respect 
That makes-calamity-of so long lif e N . 

It will be found that the rhythmic or metrical 
voice action is for some time necessary, and that 
the movements of the arms, hands or feet in con- 
cert with speech are essential, as such divert the 
attention and help to banish that nervous timidity 
which so strongly interferes with volition and 
easy organic action. 

Hence, as soon as possible let the student learn 
to declaim selections with applied gestures, which 
may be made for the time redundant and strong; 
bearing constantly in mind the regular and 
properly directed breathing, without which all 
must fail. The intelligent teacher will of course 
distinguish between treatment required in various 
cases and the class of exercise to be selected ; but 
as a whole the general treatment which covers 

81 



PHILOSOPHIC ELOCUTION. 



nearly all cases and has entirely superseded sur- 
gical operations, now almost obsolete, may be 
summarized as follows : 

I. True practice in breathing, Chap. Ill, with occasional 
regular whispering exercises. 

II. Intelligent use of the wedge between the teeth and 
proper exercises to energize, support and raise the 
tongue towards the palate in its action. 

III. Economical retention of breath ; a regular, slow 
exactitude in its emission, with correct exercise in sylla- 
bic articulation. 

IV Full inspiration at beginning of each sentence, and 
regular supply of air at breathing intervals; never 
attempting to speak without first taking breath, and 
stopping immediately for fresh supply upon first indica- 
tion of stuttering. The chief fault being an attempt to 
speak without air and after expiration. 

V. Rhythmic and metrical voice action, with regular 
movements and appropriate gestures. 

For this latter purpose the following or like 
well-measured selections, with gesture, will an- 



Ex. — For-who-would bear-the whips-and scorns-of time\ 
The oppressor's wrong\-the proud man's-contiimelyV 
The pangs-of despis'd love, -the law's delay\ 
The insolence-of office N ,-and-the spurns 
That patient merit-of the unworthy-takes', 
When-he himself-might-his quietus make 
With a bare bodkinV-Who'-would fardels-bear, 
To grunt-and sweat-under a weary life';- 
But-that the dread-of something-after death, 
The undiscovered country '-from whose bourn 
No traveler-returns", puzzles the will 
And-makes us rather bear-the ills -we have 
82 



VOGAL DEFECTS-STAMMERING. 



Than fly-to others- that-we know not of? 
Thus conscience-does make-cowards of us all N ; 
And thus-the native hue-of resolution 
Is sicklied o'er-with the pale cast-of thought, 
And-enterpnses-of great pith-and moment 
With this regard-their currents-turn-awry', 
And lose-the name-of action. 

Also King Henry's prayer on the eve of Agincourt, 
page 129. Afterwards energetic selections with action. 

With these, properly directed, success is certain 
where the pupil is in earnest, — which is the 'pri- 
mary essential. The second is that exercises 
should be continuously and not irregularly pur- 
sued with long intervals between. 

In all first efforts the teacher must lead 
the pupil, who at this stage proceeds by observa- 
tion and imitation as in all art, and which is in 
this as in other cases simply supplemented and 
perfected by reflection and reproduction. 

Section III. — Stammering. 

This is simply an indistinctness of pronuncia- 
tion, arising from defective muscular action, 
causing a clumsiness of articulation and conse- 
quent faulty pronunciation of certain elements or 
combinations. 

The confirmed habit of occasionally substituting 
one letter for another, or carelessness grown into 

83 



PHILOSOPHIC ELOCUTION. 



habit of 'confusing certain sounds or letters ; or again, 
a too great haste and eagerness in speech, which 
abridges, clips and confuses successive syllables 
or words, are the principal underlying causes of 
stammering. The cases are very rare where mal- 
formation of the organs exists as a radical fault. 

Its treatment, therefore, under an intelligent 
teacher, is very simple. Let him cause the pupil 
to repeat the alphabet slowly, and then read 
aloud for a few minutes, during which the teacher 
should carefully note the defective letters and 
confused or mispronounced combinations of sylla- 
bles and words. Then if the instructor is a good 
orthoepist and understands the physiology of the 
parts, or true basis of phonation, so that he can 
practically instruct the pupil in the management 
of the tongue, lips and other organs of speech, 
there will be no difficulty in finding amongst the 
exercises contained herein such as, in short prac- 
tice, will thoroughly cure any case of stammering. 

Defects arising from malformation of certain 
elements give to them technical names which, 
however, do not much concern us here : e. g. the 
undue pronunciation of G is termed gammacism ; 
of Jj lamb dacism ; of R rhotacism, etc. But after 
discovering the elements or sounds upon which 

84 



VOCAL DEFECTS— LISPING. 



the pupil is faulty, let the teacher intelligently 
select the exercises herein used for the correction 
of ordinary defective enunciation of such sounds. 
Then make the pupil commence, with the teacher, 
counting the cardinal numbers, breathing properly 
between each and beating time thereon with his 
hand, foot or otherwise in musical manner. 

After short practice in this change immedi- 
ately into elemental exercises, proceeding in the 
same manner, and diverting his attention by 
mechanical action in marking the time. 

Diffidence, timidity, embarrassment, and hasty 
articulation are strong prevailing causes. Of 
these the first three will disappear by practice ; 
in the last case the pupil must be compelled to 
slow, distinct delivery of the exercises. In a 
shorter time than supposed stammering may thus 
like any other habit be completely shaken off. 

Section IV. — Lisping. 

Lisping is really the improper substitution of 
one sound or letter for another; viz., th for s, 
hence technically termed sigmatism. 

The basilar cause of this defect is allowing the 
tongue to be thrust against or between the front 

85 



PHILOSOPHIC ELOCUTION. 



teeth when it should be withdrawn therefrom. Its 
cure is very simple under the following practice. 

First Ex. — Take the sound of E short and breathe it 
clearly forth with teeth slightly open. Then, when 
distinctly heard, close the teeth suddenly, withdraw the 
tongue, and make a hissing sound through the closed 
teeth. This will give the proper sibilant and sound of 
s instead of th. 

Second Ex. — Let the teacher illustrate that the defect 
consists as above explained, which makes th, and the 
consequent substitution of that sound for s. Then 
proceeding as above, let him contrast the following 
words, first pronouncing the imperfect sound, and with 
the other in his eye immediately attempt the true pro- 
nunciation, taking full time to create the sibilant. 



Az7zk, 


Ask. 


DitAmitA, 


Dismiss 


AtAktA, 


. Asks. 


FAtAertAitAetA, 


Exercises 


AthetA, . 


. Assets. 


FktAautAt, 


Exhaust 


AtAylum, 


Asylum. 


FktAitA 


. Excise 


BaltAam, . 


. Balsam. 


E at/it, . 


. East 


BatAket, 


BaJ\£et. 


FirtAt, 


First 


Be////, 


Best. 


FitAt, . . . 


. Fist 


BletAed, 


Blessed. 


FriendtA, 


. Friend 


Chaz7//;z, . 


, Chasm. 


Gospel, . 


Gospel 


ChetAt, 


. Chest. 


GliMten, . 


. Glixten 


Chmet/i, 


. Chin*w. 


Gun^, . . 


. Gunj 


CartA, 


. Cars. 


HatAte 


Ha.rz*e 


CalltA, . 


Calls. 


HoMpital, 


Hoxpital 


Con//z^quenM, 


Consequence. 


He/Aitate, . 


Hesitate 


ConzTzantly . 


. Conj/antly. 


Inz7zeck//z, 


Insects 


CautAetA, 


Causes. 


InMide, 


. In-ride 


CredenzVz, . 


Credence. 


MuzVzic, . 


M uji c 


DetAitAt, 


Desist. 


KizVzed, 


. Kiwed 


DitAeatA, . 


Disease. 


BalAt, 


. Bast 


DitAgutAt 


. Disgust. 


MurmurM, . 


Murmuw 


DutAt 


. Dust. 


WilAetA, . 


. Wishes 



These and general exercise in reading and con- 
versation under correction of teacher will, in very 
short time, repair the defect of lisping. 



LABIA-VOCAL DEFECTS. 



Section V. — Labia -Vocal Defects. 

There is a class of readers in which a contrac- 
tion of the muscles of the upper lip not only 
prevents the true, easy pronunciation of certain 
elemental sounds, but unduly uncovers and ex- 
poses the teeth, which also in a state of rest 
offensively disfigures the features. 

Anatomy justifies the statement, and experi- 
ence assures, that proper practice on appropriate 
exercises will give such pliancy to the lips that 
in reasonable time both defects will be cured. 
For this purpose a continuance of the following 
exercises will be found invariably successful. 

Let the pupil practise with a short peg, say 
three-quarters to one and a quarter inch in length, 
placed between the front teeth so as to force 
stronger duty on the muscles, and the end will 
be more rapidly attained. 

Ex I. — We //Vkled the blue, berries and/ut the plum pits 
among black beans, but some one broke the bottle and 
be\\o\o\ when we came back beans, forries and bits of 
butter were daubed and partly mixed with /<?tatoes, 
meat, mess-pork and Boston beans. Much might have 
been //eked up and ??iany comments made, but poor 
mamma's /wither was /resent, and we kepi mum, while 
we wiped away the rubbish, seeming more dumb than 
many a mute. 

Ex. II. — We wi\\ not boast or brag of bonnets, but we 
preier the /roper prohtable b/ue bombazine with white 
87 



PHILOSOPHIC ELOCUTION. 



and £/ack and brown between the purrAe r//^bon bows. 
Before we went to Washington we ^ught blue, brown 
and b/ack berries, which we put upon the ;/zz/slin /r/^- 
mings, and many people pronounced them most sujterbly 
pretty. But one j<?/;^times/(?j'sibly//'<?sumes too much 
upon prepossession, prejudice or preference, for some 
will not wear big plumes of <£/<2ck and blue upon their 
^<?st Cramer &?nnets when November or "December 
suits them ^<?fter. 



Section" VI. — Hoarseness. 

Hoarseness in speaking results from an im- 
proper management of the breath sent up into the 
larynx and pharyngeal cavity wherein the unvo- 
calized emission causes irritation of the surface or 
delicate membranous lining, creating also inflam- 
mation and swelling of the parts. This eventu- 
ally culminates, if not arrested, in dysphonia cleri- 
corum — -clergyman's sore throat — or kindred dis- 
ease. 

It is certified by MacKenzie and other first- 
class authorities that under proper action of the 
breath, with sound constitution and good muscu- 
lar development, considerable exercise of the vocal 
organs is not followed by any bad effects, but on 
the contrary such exertion rather acts as a local 
tonic. It will be found that, where the fault 
does not lie directly in the mismanagement of the 



VOCAL DEFECTS— HOARSENESS. 



breath, the very large proportion of these cases 
of granular pharyngitis or throat diseases is 
attributable to constitutional predisposition, over, 
exertion of the voice, or exposure to cold — this last, 
the most immediate though not most potent cause. 

In all such cases the application of any irritant 
to the weakened mucous membrane is capable of 
exciting the morbid action of the glandular appa- 
ratus. Excessive use of tobacco may either cause 
congestion or produce chronic relaxation. 

Since the days of the Greek sophists and law- 
yers, who occasionally sipped demulcent liquids 
or plasmata for softening and sustaining the voice 
while speaking, many mixtures have been and 
are still used by speakers and singers whose im- 
properly trained or overtaxed voices became or 
become hoarse and ungovernable. The habit of 

WATER DRINKING DURING SPEECH is indulged by 

many, and for such it may be mentioned that 
the best specialists in voice treatment and intelli- 
gent elocutionists unequivocally condemn this 
practice. Gordon Holmes, one of the most learned 
physicians and writers on the subject, states : "I 
am inclined to believe that the sipping of cold 
water is one of the worst habits that could be 
contracted with the object of keeping the voice 

89 



PHILOSOPHIC ELOCUTION. 



in good order. In the first place, when the throat 
is dry the wetting power of water is very slight, 
because it will scarcely ■ adhere to the parched 
mucous membrane. Secondly, if there is conges- 
tion of the throat as betrayed by a feeling of 
heat, the effect of a douche of cold water is ulti- 
mately to increase that congestion, for the blood 
is only momentarily driven away, and returns in 
a few minutes, by reaction, in larger quantity. 
A temporary relief is experienced, but reactive 
congestion quickly sets in, and the demand for a 
draught of cold water is greater than ever." 
For those laboring under irritation of the throat, 
hoarseness of voice, etc., and who may have no 
means of correct elocutionary training, as also 
for those who may be obliged occasionally to tax 
the voice while suffering from a cold and conse- 
quent inflammation, the following may be ac- 
cepted as the most simple and approved remedy 
to be used in such cases, while speaking, as a 

LUBRICATING DRINK. 

Take equal parts of tragacanth, pure starch, and good 
white sugar (say i oz. of each), and let them dissolve 
in a pint of water. When properly dissolved a tea- 
spoonful may be added to a glass of water and taken 
in small quantities so as not to overcharge the stomach. 
This forms a pleasant liquid of such consistency and 
90 



VOCAL DEFECTS— HOARSENESS. 



adhesive power as covers and protects for a little time 
the membranous lining, by a moistened film, against 
the harsh and rasping mismanagement of the voice. 
It may be used a little thick or thin at the option of 
the speaker; and a temperature of about 6o° is best 
for this or any other drink of the speaker. Much pre- 
ferable also to cold water is sweetened water or Veau 
sucree of the French. 

The above will be found a grateful temporary 
relief to all who may be obliged to resort to such, 
but the secure action is to consult a skilled phy- 
sician, who in nearly all cases will supplement 
his treatment by referring the patient to intelli- 
gent vocal culture. 



91 



CHAPTER VI. 



Yocal Flexibility. 



An inflexible voice is very rare ; yet the in- 
flexibility that prevails in reading and memoriter 
speaking or recitation is surprisingly common. 
One constantly finds pupils who sing well or 
passably, and in whose vocal action thus exhib- ' 
ited every desirable flexure undulation, trill or 
changing transition of voice is marked and facile. 
Ask them to read some passage where strong or 
light slide or inflection is required and inexpli- 
cable difficulty seems presented. As the chief 
charm of voice in reading depends upon its easy 
movement through varieties of tone, expressive 
of emotion, feeling, passion, etc., the ambitious 
pupil must prepare himself therefor, and a few 
hours occasional training and examples from the 
living voice, or teacher, will do more than volumes 
of written instructions; it is therefore proposed 
to add only such few as may be most easily man- 
aged, and first as to 

Slides and Undulations of Voice. 
It is not the intention here to enter upon the 

92 



VOCAL FLEXIBILITY. 



philosophy of inflections. The present being the 
more mechanical voice culture postpones the more 
intellectual for subsequent treatment. To obtain 
easy command of voice in transition, slide, modu- 
lation, pitch, etc., and to secure its graceful 
movement, let the pupil make frequent attentive 
practice of the following: 

Exercises. — Suppose yourself astonished at something 
disagreeable and distasteful that you are told you shall 
do. Then in more or less indignant reply utter one or 
all of the following words, with upward slide of voice: 
Indeed/ Ah! Shall I 
Practice these words under various degrees of astonish- 
ment and disapprobation with rising concrete move 
ment of voice sweeping through an octave, and then 
with downward sweep or slide, to the key-note of each. 
First — Three notes. A'h — indeed— shall. 

Second — Five notes. Ah — indeed — shall. 

Third — Octave. Ah — indeed — shall. 

Downward slide — Thirds — Shall — indeed, ah. 
Fifths Shall— indeed, ah. 
" Octaves Shall — indeed, ah. 

Try the same on " Boy " — also on the pronoun " I." 
First — 3rds. Boy— Boy, Boy — Downw'd Boy— Boy — Boy. 
Second— 5ths. Boy— I, I. " I— Boy — I. 

Third— oct. I— Boy, I. " Boy— I— Boy. 

First— 5ths. Boy indeed ! 1 an itching palm? 

Second— Oct. Boy indeed ! I an itching palm ? 

Apply these slides to the following as marked. 
The Fifth Slides are in italics, Octave Slides in 
capitals. Some read the examples given with 
falling or downward slides of voice. They are 

93 



PHILOSOPHIC ELOCUTION. 



here used with the opposite, full reasons for which 
will be understood when we treat of inflections. 

Ex. Scene from Coriolanus — Act v, scene v. De- 
nouncing Aufidius. 
Aufidius. Name not the god, thou boy of tears. 
Cor. Measureless liar ! (oct.) thou hast made my heart 
Too great for what contains it. Boy ! O slave/ 

***** Boy! False hound/ 
If you have writ your annals true, 'tis there 
That like an eagle in a dove cote I 
Fluttered your Volscians in Corioli ; 

Alone I did it. Boy! 
Ex. Julius Cesar — Act iv, scene iii. 
Brutus. Let me tell you, Cassius, you yourself 

Are much condemn'd to have an itching palm; 

To sell and mart your offices for gold 

To undeservers. 

Cassius. I an itching palm ! 

You know that you are Brutus that speak this, 
Or, by the gods, this speech were else your last. 

Brutus. The name of Cassius honors this corruption, 
And chastisement doth therefore hide his head. 

Cassius. Chastisement / 

****** 

Cas. O ye gods, ye gods / must I endure all this? 

Bru. All this J ay, more : fret till your proud heart break ; 
Go show your slaves how choleric you are, 
And make your bondmen tremble. Must I budge? 
Must / observe you ? must I stand and cronck 
Under your testy humour? By the gods, 
You shall digest the venom of your spleen, 
Though it do split you ; for, from this day forth, 
I'll use you for my mirth, yea, for my laughter, 
When you are waspish. 

94 



VOCAL FLEXIBILITY. 



Note. — Take the following, first five lines, second book 
Paradise Lost; articulate them as divided in Ex. and 
recite them in middle pitch of voice. Then repeat, 
one note higher ; again one note higher still, and so to 
the full reach of voice, without shouting. Then descend 
on each repetition of the lines one note, until as low as 
the voice will reach. Repeat this exercise frequently, 
and it will be found one of the very best — adding as it 
•will, in a short time, notes above and below the 
pupil's voice capacity at the commencement. 

Ex. — High-on-a-throne-of-roy-al-state,-which-far 
Out-shone- the-wealth-of-Or-mus-and-of-Ind; 
Or-where-the-gor-geous-east,-with-rich-est-hand, 
Showers-on-her-kings,-bar-ba-ric-pearl-and-gold, 
Sa-tan-ex-alt-ed-sat. 

Ex. Execute, as exercise, the following lines from Mid- 
Summer Night's Dream, beginning at the bottom, 
ascending and descending as constructed: 

fire I 

thorough 
flood do 

thorough 
pale wan- 



over 
park 
over 
brier 
thorough 
bush 
thorough 
dale 
over 
hill 
over 



der 



ry- 



How, now, spirit, whither wander you ? 



95 



where 
swift- 
er 
than 
the 

moones 
sphere. 



PHILOSOPHIC ELOCUTION. 



Ex. Thus after the manner of the last exercise give the 
following correct reading. Macbeth to Witches, Act 
iv, scene i. But in each member, as numbered, let the 
voice rise hy pitch, not by slide. On the descent, let it 
slide strongly down, in full tones. Read from below up- 
wards. 

tumble all together — Even till destruction sicken. 
6. Tho' the treasure of nature's gennens <^, 
their heads to their foundations ; "^ 
5. Tho' palaces and pyramids do slope £ 

their warders' heads; "% 

4. Tho' castles topple on £ 

and trees blown down ; ° 

3. Tho' bladed corn be lodged o 

and swallow navigation up ; ^ 

2. Tho' the yesty waves confound ^ 

them fight against the churches ; >-* 

I. Tho' you untie the zvinds and let ^ 

Howe'er you come to know it, answer me : ^ 

Macb. I conjure you, by that which you profess, % 

Let the pupil also practice the out-pouring or out-rolling 
of the voice in the manner symbolized below — on mid- 
dle, high and low pitch — using one of the long vowels 
as a vehicle of sound, pouring it full of air, by muscular 
action, swelling and diminishing. 



-tTtf]^^ 



High, 

Middle, [> Awe. 

I 

Low. 3 

Ex. Use the subjoined Ex. as follows : 

Commence on high pitch, drop one note on each of the 
first four lines ; then commence ascending on fifth line 
and raise one note on each to close of tenth line. Then 
on eleventh line descend or drop the voice six notes, and 
descend again from that pitch one note on each of the 
other lines. 

96 



VOCAL FLEXIBILITY. 



To the deep, 

down. 

To the deep, 

down. 
5. Through the shades of sleep — 
Through the cloudy strife 
Of death and of life ; 
Through the veil and the bar 
Of things that seem and are , 
10. Even to the steps of the remotest throne, — 
11. Down ! 

Down ! 

Down ! 

Down ! 

The following extract from the " Veiled 
Prophet," (Lalla Rookh) and like passages pre- 
sent good opportunity for practice in flexibility. 
Do not be afraid to let the voice have easy play 
through the lines, as the chief beauty of the 
reading depends upon the freedom of the slide 
and undulating action. "Mokanna" is repre- 
sented "pondering," and — 

At length, with fiendish laugh, like that which broke 

From Eblis, at the fall of man, he spoke — 

" Yes, ye vile race, for hell's amusement given 

" Too mean for earth yet claiming kin with heaven 

" God's images forsooth ! — Such gods as he 

" Whom India serves, the monkey-deity : 

" Ye creatures of a breath ! proud things of clay! 

" To whom if Lucifer, as grandams say, 

" Refused — though at the forfeit of heaven's light — 

" To bend in worship, Lucifer was right ! 

# # # # # * 

97 



PHILOSOPHIC ELOCUTION. 



"Ye wise! ye learned, who grope your dull way on, 

" By the dim twinkling gleam, of ages gone 

"Ye shall have honors -wealth, yes sages, yes — 

" /know, grave fools, your wisdom's nothingness : 

" Unddzzled, it can track yon starry sphere 

" But a gilt stick, a bauble, blinds it here 

" How I shall laugh, when trumpeted along 

" In lying speech and still more lying song 

" Their wits bought up, their wisdom shrunk so small 

" A sceptre's puny point, can wield it all ! 

" Ye, too, believers, of incredible creeds / 

" Whose faith enshrines the monsters which it breeds. 

" Ye shall have miracles, aye, sound ones, too, 

" Seen, heard, attested, everything — but true. 

Etc., throughout the passage. 

So also in this extract from Virginius, Act i, Sc. ii. 

Virgifiia. Well, father, what's your will ? 
Virginius. I wished to see you 

To ask you of your tasks — how they go on — 

And what your masters say of you — what last 

You did? I hope you never play 

The truant ! 
Virg. The ttuant ! No, indeed, Virginius. 
Vir. I am sure you do not — kiss me. 
Virg. O my father ! 

I am so happy when you're kind to me ! 

Vir. You are so happy when I'm kind to you ! 
Am I not always kind ? I never spoke 
An angry word to you in all my life, 
Virginia ! You are happy when I'm kind ! 
That's strange — and makes me think you have some 

reason 
To fear I may be otherwise than kind 
Is 't so my girl ? 

98 



CHAPTER VII. 



Force and Stress. 

As all our motions, actions, passions, take their 
form and direction from the nerve centres, so the 
dynamic stroke which indicates the mental con- 
dition, the action or ictus given to the voice its 
agent in expression, is discovered in the force of 
■ utterance. 

The organic sympathy of our nature act- 
ing from brain-nerve to muscle, produces at 
the mind's demand action voluntary or involun- 
tary, that from diaphragm through lungs expels 
the air in compact volume and decisive move- 
ment, making it full, strong and effective. It is 
this that in all tones of voice gives body and 
power more serviceable to the speaker than in- 
creased height of pitch or loudness^ and is to be 
thoughtfully considered and practised in contra- 
distinction thereto. 

Force correctly understood means power to the 
voice. Loudness is more like noise. Force under 
proper management gives volume and dignity, 
whether the tones he high or low. Loudness de- 



PHILOSOPHIC ELOCUTION. 



pends too much upon high pitch, throat-labor 
and falsetto tones without full action of the ab- 
dominal muscles as the propulsive power. The 
former gives the true os rotundum, or pure tone 
and orotund. The latter leads to reduudant gut- 
tural and aspirate qualities, injuring both voice 
and organs. Force is the result of full-supplied 
breath in compact, unbroken column. Loudness 
favors that fitful, spasmodic action which, shaking 
and rattling through partially filled trachea and 
larynx, chafes and abrades the delicate mem- 
branes, thus leading to their debility and disease. 

Force and volume relate to space and power, 
filling all around and heard with pleasure, like the 
organ tone. Loudness pertains to distance, and, 
though sometimes heard as far, causes grating 
on the ear like fife or whistle, while the nearer 
we approach the more repulsive is the sound. 

Force faithfully practiced under its various 

modifications strengthens the vocal organs and 

gives them flexibility and vigor. Its forms are : 

The Effusive — which is smooth and subdued. 

Expulsive — " abrupt and earnest. 

Explosive — " energetic and impassioned. 

In these executive forms, each of which may 

be more or less modified, force is supplemented 

100 



FORCE AND STRESS, 



by its cognate element stress, which completes 
the character of voice action; and here, therefore, 
let us consider in conjunction the subject of stress, 
which is, in fact, specially applied vocal force. It 
is used' by Dr. Kush to exemplify the mode in 
which force is rendered perceptible and effective 
in its application to single sounds. 

Thus it bears to force the same relation that 
accent bears to emphasis exhausting its action on 
single sounds as accent does on single syllables. 
While force like emphasis runs through words, 
phrases or sentences. 

Stress represents activity, energy, decision, etc. 
Force represents intensity, duration, power, etc. 
Volume represents pomp, dignity, majesty, etc. 
Stress we here classiy under seven different 
forms, the correct comprehension and manage- 
ment of which are indispensable to good reading. 
These are as follow, and may be represented 
by the subjoined symbols: 

Radical, or initial, Stress > 

Radical diminuendo Stress >• 

Vanishing or final Stress < 

Compound Stress. >< 

Median or middle Stress <^> 

Thorough Stress - 

Tremor . - 

Thus employed they indicate the character and 
action of the voice required, or the thought they 
101 



PHILOSOPHIC ELOCUTION. 



symbolize as clearly as do notes or signs in music 
the tone, quality, or execution, sought by the com- 
poser; and the pupil should accept and study them 
as such exponents. 

Radical stress is the most useful and neces- 
sary perhaps to the reader or speaker. Its 
proper use necessitates expulsive or explosive 
breathing in one of two forms, as > which sym- 
bolizes the abrupt burst of voice in full force or 
strength at the opening of the mouth on the 
pronunciation, and a rapid closing of the sound 
into nothing upon the word or syllable as indi- 
cated in form by its symbol. The other we 
would represent as >, more nearly resembling the 
musical diminuendo and figuring the voice as 
gradually moving from the initial burst through 
a softening and diminishing tone to nothing. 

It is a philosophic fact that the emotion raised 
in the mind by thoughtive force, resembling, as 
it does, its effect, is felt as if force were exerted 
there; and it is just as strong a fact that force 
will physically follow, and psychologically the 
emotion be transmitted to hearer or spectator. 
But the mind that exerts no force conveys listless- 
ness of purpose, and excites or enlists no emotional 
sympathy, earnestness or interest in the hearer. 

Force is especially required in 70cal action to 
102 



FORCE AND STRESS. 



save it from emptiness, dullness, heaviness; and 
we cannot too much urge upon the student a due 
consideration and perfection of this most valuable 
elocutionary accomplishment, which mixes itself 
in every effort of the orator or reader. 

Force, radical, and diminuendo stress are to him 
the most essential power next to that of vocal 
utterance, speech, judgment and education. Judi- 
ciously used, with voice qualities, they form 
the true weapons or vocal outfit of the educated 
orator, giving point and edge and life, spirit and 
dignity and decision, sweetness, earnestness and 
power to his utterance. Without them speaking 
and reading under ordinary emotion become weari- 
some, weak, insipid and monotonous, securing our 
pity rather than respect. Without such, under 
strong emotion, passion, etc., the speaker rushes 
on through rant, vociferation and confusion of 
thought, which entitle him to the jeers rather 
than the plaudits of his audience. Thus the un- 
skilled actor rants through Hamlet's challenge 
to Laertes at Ophelia's grave. 

" Dost thou come here to whine ? 
To outface me, by leaping in her grave ? 
Be buried quick with her and so will I ! 
And if thou prate of mcunta.\ns — let them throw 
Millions of acres on us, till our ground 
103 



PHILOSOPHIC ELOCUTION. 



Singeing his pate against the burning zone 
Make Ossa. like a wart\ Nay an' thou'lt mouth. 
I'll rant as well as thou." 

And in fact such wild outbursts of passion can 
only be saved from rant and mouthing-vocifera- 
tion by the correct use of stress, tempering and 
regulating their time and inflections. 

It is the absence or unskilled use of rad. stress 
that begets the whining, sing-song tones which 
grow into rant, and scream, and howl, occasionally 
heard in pulpits, on the platform and elsewhere; 
which speakers never discover in themselves 
until friendly teacher point them out ; and with- 
out the judicious use of which all sermons and 
speeches, especially if written, or when read, 
must be more or less tinged with monotony. 

The Ead. Stress, then, is the exponent of well 
directed, thoughtive energy, decision, force, firm- 
ness, determination, etc., yet requires to be con- 
sidered and managed with much discretion. Care 
must be exercised lest the student fall into its 
abuse or extreme use, which is a fault almost as 
serious as its entire absence. Bad taste, want of 
thought or judgment, may lead to a habit of 
employing this stress upon every few words, thus 
giving to the voice a jerky, spasmodic, chopping 
action, which conveys arrogance, assumption, 

104 



FORCE AND STRESS. 



self-conceit. This, of course, must be avoided by 
limitation of its action to essential words. 

As a means of practising and acquiring the rad. 
stress, the student may be able to adopt no better 
formula than the following exercises, which 
should be continued for some time and occasion- 
ally returned to for discipline. 

First. — Count the cardinal numbers slowly and clearly. 

i 2 3 4 5 6 7 8 9 iod 
Second. — Count as before, but with increasing force and 
pitch on each number. 

i 2 3.43 6 7 8 9 IO 
Fourth. — Occasionally, after the manner of a clear, 
hearty laugh, use the sounds — 

Ha, ha, ha, ha, ha, ha. 
Fourth. — Run the notes of the gamut in staccato form as 
high as the speaking voice will reach, taking good care to 
give to each the clear radical stroke, and to avoid any ap- 
proach to prolonged or singing tones. 

>> >>>>>>> 
Do. re, mi, fa, sol, la, si, do, re, &c. 
Then in same manner descend. Repeat three times. 

Note. — These will form best exercises for clearing, 
strengthening and giving to the voice sparkle and preci- 
sion of stroke. For the following Ex. let there be a full 
inspiration through the nostrils, then a moment's occlu- 
sion of the larynx, barring the breath for a full and 
sudden discharge. Then opening the mouth expel the 
air by rapid action of the abdominal muscles, explod- 
ing the voice and closing it immediately, Use such 
words as " halt ! " " fall ! " " forward ! " etc. 



105 



PHILOSOPHIC ELOCUTION. 



A fair practice on these will give the student 
the correct idea of stress, which, as before stated, 
is force applied to single sounds. From this it 
will not be difficult 'to carry its action into sen- 
tences, provided the facile stroke of voice has 
been mastered in the word or single sound. 
> > > 

Cas. Brutus, bay not me ; 

I'll not endure it : you forget yourself, 
To hedge me in ; I am a soldier — /", 
Older in practice, abler than yourself 
To make conditions. 

Bru. Go to; you are not, Gwsius. 

Cas. I am. 

Bru. I say you are not. 

Cas. Urge me no more, I shall forget myself. 

One of the most irksome duties of a teacher is 
to be reminding pupils of facts which they some- 
times know as well as he, and upon which in 
practice or exercise they are possibly quite as 
perfect ; and one of the greatest faults of readers, 
one of the greatest troubles of a teacher, is that 
they will not put into practical execution those 
features so thoroughly known to and practised 
by them in other places. For instance, counting 
the cardinal numbers as above, one of the sim- 
plest and most natural uses of stress, is com- 
mon to the merest tyro as to the practised elocu- 
tionist. About this, mistake can hardly occur in 

106 



FORCE AND STRESS. 



management of breath and voice, yet the pupil 
that may be perfect therein, will often make much 
ado when required to import the same features of 
force and stress into an oratorical or argumenta- 
tive reading. 

The most difficult management of force and 
stress appears to be in their natural application to 
changing hues and shades of thought as such pass 
before the reader's eye ; requiring sometimes swell 
and volume in effusive orotund, indicating majesty, 
sublimity and grandeur. Again that low, effu- 
sive, pure, subdued and median control, that 
speaks a change to serious or pathetic ; perchance 
the high, expulsive, energetic force and impas- 
sioned stress whose hastened movements tell of 
joy, etc., and all of which, as well as others, often 
occur in single sentences. 

To effect grace and facility in this a most valu- 
able practice may be had upon the following scale 
or ladder, which will be found the most certain 
guide to the order of thought and expression 
indicated in the corresponding column. 

The mode of practising the scale is simply to 
strike the key note, and with proper force applied 
to voice, read each selection from below upwards; 
then down; then promiscuously until the result 

107 



PHILOSOPHIC ELOCUTION. 



is certain and the voice pitch force and transition 
easy. 

Scale for Exercise in Force, Pitch and Modulation. 



8th (Octave.) 



7th (Semitone.) | 



If thou speak'st false, upon the 
next tree shalt thou hang, alive. 
Page 179. 

What man dare, I dare ! 

Take any shape but that and my 
firm nerves shall never tremble, 
etc. Page 198. 



Impassioned or- 
otund, excite- 
ment, &c. 



Energetic oro- 
tund, alarm, 
&c. 



5th Tone 
(Dominant 
pitch.) 



4th Tone 
(Sub dom- 
inant.) 



Wreathe the bowl with flowers of 

soul The brightest wit can I Joy or humor 
find us ! Page 146. | 



Therefore, my lords omit no 
happy hour, that may give fur- 
therance to our expedition, etc. 
Page 173. 

I speak to time and to eternity, 
of which I grow a portion, not 
to man. Page 218. 



3d (Semi- 
tone.) 



O, Thou that rollest above! 
round as the shield of my fath- 
ers. Whence are thy beams, 
O Sun. Page 128. 



Bold 
orotund. 



Grave 
Tone. 



Solemn & 
earnest 
appeal. 



2d Tone. 



1st Tone 
(Key- 



Thus conscience does make cow- 
ards of us all: and thus the 
native hue of resolution is sick- 
lied o'er, etc. Page 83. 



To be, or not to be : 
question, etc. 



that is the 
Page 81. 



Solemn 
orotund 



Tone of 
solemn 
awe. 



This adaptation is only another form of the 
gamut, but highly useful in aiding the pupil to 
practical application of the exercises under the 
other forms, which seems generally the difficulty 
presented. 108 



FORGE AND STRESS. 



Force and steess may be said to rank among 
the most subtle agencies in expression, at least to 
the uninitiated, who fail to see the mode of execu- 
tion whereby such strength and full development 
of thought and significance are given ; and not 
unfrequently good readers detect a majesty, or 
power, an elegance and finish about the reading 
of another as distinguished fi om their own ; and 
do not know that in the application of these ele- 
ments consists the difference. A very fine illus- 
tration and test of this is found in the lines of 
Alfred Evelyn in the following extract from 
" Money,'' Act II., Sc. 1 — mark the italics: 

Eve. Zeft /tz^erless, when but a boy, my poor mother 
grudged herself food to give me education. Some one 
had told her that /earning was better than house and 
land — that's a lie, Graves ! 

Graves. A scandalous lie, Evelyn ! 

Eve. On the strength of that lie I was put to school — sent 
to college, a sizar. Do you know what a sizar is? In 
pride he is a ge?i\\em\x\ — in knowledge he is a scholar — 
and he crawls about, amidst gentlemen and scholars, 
with the livery of a pauper on his back ! I earned off 
the great prizes — I became distinguished — I looked to a 
high degree, leading to a fellowship; that is, an inde- 
pendence for myself— a home for my mother. One day-a 
young lord insulted me — I retorted — he struck me — 
refused apology — refused redress. I was a siz2x\ — a 
/frriah! a thing— to be struck! Sir, I was at least a 
77ian, and I horsevjhXv^ed him in the hall before the ey(S 
of the whole College ! — A few days, and the lord's chas- 
109 



PHILOSOPHIC ELOCVTION. 



tisement was forgotten. The next day-the sizax was ex- 
pelfed — the career of a life blasted '! — That is the differ- 
ence between Rich and #wy it takes a ze/^/rwind to 
m^e the one — a bieath may uproot the <?//^r. 

As this element of expression always conveys 
earnestness, decision and resolution, no better ex- 
ample can be required than the Ten Command- 
ments. And the attempt to improve their inex- 
cusably imperfect interpretation by the general 
reader may justify their present use and insertion. 

Ex. — And God spake all these words, saying : 

> > > > > 

/ am the Lord — thy God — which, have brought thee out 
of the land of Egypt, out of the house of b#« dage. 

Thou shalt>have>;/<7>^^r> < ^?^>before>me. 

ThovC>shalt nof>make unto>thee any^>graven>image, or 
any likeness of any thing that is in heaven above, or that 
is in the earth beneath, or that is in the water under 
the earth. 

Thou shalt not^>bow>down thyself to them, nor>serve 
them : for /the Lord thy God am a jealous God, visiting 
the iniquity of the fathers upon the children, unto the 
third and fourth generation, of them that hate me ; 

And shewing mercy unto thousands of them that love me, 
and keep my commandments. 

Thou shalt not>/#/£<? the~>name of they Lord thy God in 
>vain: for the Lord will not hold him guiltless that 
taketh his name in vain. 

Remember the> sabbath-day \o>keep it holy. 

Honour thy father and thy mother ; that thy days may 
be long — upqn the land which the Lord thy God giveth 
thee. 

Thou shalt not>kill. 

Thou shalt noi>commit adultery. 

Thou shalt noi>steal. 

110 



FORGE AND STRESS. 



Thou shalt not heary false witness against thy neighbour. 

Thou shalt x\o£>covet thy neighbour's house, thou shalt 
not covet thy neighbour's wife, nor his man-servant, nor 
his maid-servant, nor his ox, nor his ass, nor>any thing 
that is \kiy>neighbour's. 

Note. — A most serious and frequent fault in readers and 
speakers is to let the voice die out at the closing of 
sentences. It springs from one of the absurd "rules" 
laid down that there the falling inflection is used, with- 
out truly knowing what the falling inflection practically 
is. Nothing is more annoying to the hearer than this 
habit. Besides in majority, perhaps, of well constructed 
sentences, especially seen in the last example, the 
strength of thought and force of expression are reserved, 
frequently too in climatic form, for the close. In all 
such cases of course, the habit is not only monotonously 
disagreeable, but highly destructive of sense. The' only 
way to avoid this is by proper distribution of force, 
radical stress, and consequent vocal support, w T hich will 
give infallible cure. It only requires a little care to 
avoid the opposite extreme. The voice may fall 2X the 
close, but it must not faWflat, nor fall to pieces. 

Under what has been said, and with the 
knowledge the pupil has thus far acquired, it 
may be unnecessary to add anything further 
upon this form of stress, more than to urge its 
practice as a chief element in good articulation, 
which gives to oratorical display that decisive, 
graceful word-finish, sparkle and brilliancy that 
avoids vociferation and confusion, therefore espe- 
cially essential in strong impassioned passages. 

Subject to appropriate qualities of voice and 
111 



PHILOSOPHIC ELOCUTION. 



other features of delivery not yet reached in our 
work, and requiring perhaps elucidation by the 
teacher ; let the student attempt the following 
examples as exercises in close of this element — 
radical stress. 

Hurra/?/ the foes are moving ! I/ark to the mingled din 

Of fife, and steed, and trump, and drum, and roaying culverin ! 

The fiery Duke is pricking fast across Saint Andre's plain, 

With all the /«;rling chivalry of Guelders and Almayne. 

Now, by the lips of those ye love, fair gentlemen of France, 

Charge for the golden lilies 1 — Upon them zvith the lance! 

A thousand spurs are striking d^p, a thousand spears in rest, 

A thousand knights are pressing close behmd the snow-white crest; 

And in they burst, and on they rushed, while, like a guiding star, 

Amidst the thickest carnage, blazed-the helmet of Navarre. 

Right well fought all the Frenchmen who fought for France to-day ; 

And many a lordly banner God gave them, for prey. 

But-TCA? <?/" ///i? religion. have borne us fotf.in fight: 

And the good Lord of Rosny hath ta'en the cornet white — 

Our own true Maximilian the cornet white hath to' en, 

The cornet white with crosses black, the flag of _/alse Lorrame. 

6^> with it, high ; un/awl it, wide — that all the host may know 

How God hath humbled the proud ru?«se which wr^ght his church 

such woe. 
Th<?«-on the ground, while trumpets sotmd their loudest point of war, 
Fling the red s^r<?d,-a foot-cWh meet for Henry of Navarre. 

In the following Ex. from Cibber's acting 

adaptation of Richard III, Act v, sc. v, the force 

and stress in Richard's lines increase gradually 

to the close. 

King R. — Oh, Catesby! I have had such horrid dreams. 
Catesby.— Shadows, my lord— below the soldiers heeding. 
King R. — Now, by the Apostle Paul, shadows to-night 

Have struck more terror to the soul of Richzxti 
Than could the ^stance of ten thous&i\o\ 
soldiers. 

112 



RADICAL DIMINUENDO STRESS. 



Arm'd all in pw/, and led by shallow Rich- 
mond. 
Catesby. — Were it but known a dream had frightened you 
How would your animated foes presume on't? 
King R. — Perish. they thought ! No, never be it said 

That fate itself could awe the soul of Richard. 
Hence, ba bb\mg> dreams ! You threaten^ here 

in>vain ! 
Conscience, avaunt! i?^ard's>himi"(?^> again/ 

So also the following from Richard III ; 

King R. — A flourish J trumpets! Strike the alarum 
drums ! 
Let>;/0t the>/zdYzvens hear these>/<?//-tale 

>^men 
Rail on the Lord's anointed /> Strike, Y>say / 
***** 

Richmond. — Fight, gentlemen of England ! Fight, bold 

yeomen ! 

Draw, archei's, draw your arrows to the head! 

Spur your proud horses hard and tide in bWd; 

Amaze the welkin with your broken staves! 



Section II. 

Radical Diminuendo Stress. — There is per- 
ceptible in all children's voices until spoiled by 
school recitations, etc., as there is also in all cul- 
tivated voices a sweet and soft sound, the coun- 
terpart of the musical diminuendo. This sound, 
which is the consequence of mental desire to 
have the expressed thought clear, distinct and 
pleasing to the hearer, strikes in full, strong 

113 



PHILOSOPHIC ELOCUTION. 



purpose, like more abrupt rad, stress, on the 
opening of the word. This is with intent to be 
heard and not lost. But because of the pleasure 
it proposes to convey it gradually softens down 
into finer, sweeter, more insinuating form as it 
closes, giving to the voice its most attractive fin- 
ish. It is therefore the symbol of pleasant, or 
pretended pleasant, mental action in its expression 
of love, tenderness, persuasisn ) seductiveness, com- 
pliment, flattery and the many-colored sentiments 
ranged under this generic thought 

Would the orator with strong argument con- 
vince, he uses radical stress>; would he persuade, 
seduce or wheedle others to his views, he aban- 
dons the strength and deiscion of that element and 
employs the softer strains of the diminuendo>. 
The former is always used in command, the 
latter in solicitation. The signs here employed 
to designate them give to the eye an intelligible 
idea of the voice tone, which the student must 
formulate or learn from teacher, and they are in 
such common use in natural expression that the 
very best exercise is upon passages requiring 
them. Those who have observed in themselves 
or others the movements of the voice when they 
have endeavored to make themselves agreeable 

114 



RADICAL DIMINUENDO STRESS. 



will have no difficulty, with natural care, in re- 
suming the tones. 

Ex. — Indeed, madame, I wish not to be forward, but 
women always seemed to me less calculated for retire- 
ment than men. We have a thousand employments, a 
thousand amusements, which you have not. 

We>-ride, we>-hunt, we>-play.>-read.>-write. But 
dare I>-ask what sne^-your employments for a day ? 

O, my lord, you cannot imagine how quickly time passes 
when a certain uniformity guides the minutes of our 
life ! How often do I ask, " Is Saturday come again so 
soon ?" On a bright cheerful morning my books and 
breakfast are carried out upon the grass plot. Then, is 
the sweet picture of reviving industry and eager inno- 
cence always new to me. The bird's notes, so often 
heard, still waken new ideas; thes herd are led out into 
the fields ; the peasant bends his eye upon his plough; 
Everything lives and moves, and in every creature's 
mind it seems as it were morning. Towards evening I 
begin to roam abroad, from the park into the meadows; 
and, sometimes, returning I pause to look at the village 
boys and girls at play. Then do I bless their innocence 
and pray to Heaven those laughing, thoughtless hours 
could be their lot forever. 



Ex. — There is a>^//— in evex-f^-flower 
K^sweetness — in esich)> spray 
And every simple^ frird — hath>»power 
To)>please me, with its>-lay 
And there is^music on the breeze 
That>-sports, along the>glade 
The crystal dew> drops, on the trees, 
Are>-g^;;/i" — by fancy made 
O, — there is>-joy and>happiness 
In>- everything I see 

Which bids my>-.fc?#/>rise up and bless 
The>God — that blesseth me. 
115 



PHILOSOPHIC ELOCUTION. 



The following extracts from Act iii, sc. ii, 
Henry VIII, afford good example of blending 
the argumentative and persuasive — or attempted 
wheedling ; also of the tone of respect, even in 
high position, due and expressed to superiors. 
The scene is between Cardinal Wolsey, Cam- 
peius and Queen Katharine in the endeavor to 
obtain her consent to a divorce from the King. 
All the effective words should be marked by the 
rad. dim> : 

Enter the two Cardinals. 

> > 

Wol. Peace to your highness ! 

Q. Kath. Your)> graces find me here part of a housewife, 
I would be all, against the worst may happen. 
What are your //<?#sures with me, reverend lords ? 

Wol. May it please you, noble>*madam, to withdraw 
Into your private>~chamber, we shall give you 
The full)>cause of our>»coming. 

Q. Kath. Speak it here ; 

There's nothing I have done yet, o' my conscience, 
Deserves a corner : * * * * 
Wol. Tantz est ^rga te //^/ztis in^ritas, regina. sere;//i"sima — 

In the Queen's reply will be marked the change 
of manner to the decisive, assertive, and the 
consequent natural change to the more abrupt 
radical stress> in its expression : 

Q. Kath. O, good my lord, no Latin; 
I am not such a /rwant since my coming, 
As not to k?iow the /ar/zguage I have lived in : 
116 



RADICAL DIMINUENDO STRESS. 



A strange tongue makes my cause more strange, suspicious; 
Pray, speak in English ; here are some will thank you, 
If you speak truth, for their poor mistress' sake ; 
Believe me, she has had much wrong : lord ordinal, 
The willing'st sin I ever yet comwzVted 
May be absolved in English. 

Then again the flexure, the conciliatory turn 
of the cardinals, the admitted cause of grievances, 
employs while also marking their humility, (as- 
sumed or earnest), the deeper form of the dimin- 
uendo aided also by quality of voice and time 
necessary to due interpretation. 

WoL >Noble>lady, 

I am sorry — my integrity should breed, — 
(And service to his majesty and you), 
So deep suspicion — where, all faith was meant. 
We come not by the way of accusation 
To taint that honour every good /<?//gue blesses, 
Nor, to betray you, any way, to sorrow 
You have too much, good lady — but — to know 
How you stand minded, in the weighty difference 
Between the king and you ; and, to deliver, 
Like free and honest men, our just opinions 
And comforts to your cause. 

Cam. Most)>honour'd>-madam, 

My Lord of York, out of his noble nature, 
Zeal and obedience he still bore your grace, 
Forgetting — like a good man — your late censure 
Both of his truth and him — which was too far^ 
Offers, as I do, in a sign of peace, 
His service and his counsel. 

The tones of Campeius are conceived and exe- 
cuted in deepest form of this element conveying 

117 



PHILOSOPHIC ELOCUTION. 



as it were apology for his interposition — from his 
lower sphere than the prime minister. To both 
the queen rejoins in deprecating thought and 
words. * * * 

Wol. Madam, you wrong — the king's love, with these fears 
Your hopes and friends, are infinite. 

Cain. I would your>-grace 

Would leave your griefs and take my counsel. 

Q. Kath. How> sir ? 

Cam. Put your main cause — into the king's pro/<?^tion, 
He's loving and — most gracious; 'twill be much 
Both for your honor — better, and, your cause, 
For if the trial of the law o'ertake ye, 
You'll part away — disgraced. 

Wol. He]>tells you>-rightly. 

Here the queen, incensed, again changes to the 
rad. stress which the voice in stern denuncia- 
tion always assumes. 

Queen. Ye tell me what — ye wish for both — my ruin. 

Is this your Christian counsel ? >Out upon ye !. 

Heaven is above all yet; there — sits a judge 

That no king can corrupt. 
Ex. — Tender, loving persuasion. Hamlet, Acti , sc. v. 
Queen. Let not thy mother lose her prayers. Hamlet. 
I pray thee stay with us ; go not to Wittenberg. 

Ex. — Love — Expressions — Compliment, etc. 
MERCHANT OF VENICE.— Act V., Scene I. 
Lorenzo and Jessica. 

> 

Lor, The moon shines bright ! 
******* 

In ^such a ^-night 
Did ^fessica steal from the wealthy ^*Jew 



RADICAL DIMINUENDO STRESS.. 



And with an unthrift ^love did run from ^*- Venice 
As far as Belmont. 

Jes. In such a night 

Did young ^Lorenzo )>szvear he gloved her well, 
Stealing her ^-soul with many ^vows of ^faith 
And ne'er a ^-true ^one. 

Lor. In such a night. 

Did pretty ^Jessica, like a little ^s/irezv, 
^Slander her love, and ^>/zt? ^p-forgave it her. 

y^j. I would out-night you, did no body come : 
But ^>-hark, I hear the footing of a man. 
* ***** * 

Lor. How ^sweet the ^moonlight ^sleeps upon this *p-bank ! 
Here will we sit and let the ^sounds of music 
Creep in our ears : soft stillness and the night 
Become the touches of sweet harmony, 
*^-Sit ^Jessica. Look how the floor of ^heaven 
Is thick inlaid with ^patines of bright ^gold : 
There's not the smallest ^-ord which thou ^de/iold 'st 
But in his motion like an ^-angels-sings, 
Still quiring to the young-eyed cherubim; 
Such ^-harmony is in immortal ^>-souls ; 
But whilst this muddy vesture of decay 
Doth grossly close it in, we cannot hear it. 



Section III. — Vanishing Stress. 

This represents the closing or vanish of the 
voice as it explodes in loud broken sound, scat- 
tering, as it were, rather than dying away. Its 
symbol < conveys correctly the idea of its open- 
ing sharp, rapidly swelling and bursting or 
breaking off abruptly without diminish. Thus 
it is the voice of petulance, querulousness, impa- 
tience, anger, revenge and malignant passions, 
which, observation shows us, all express them- 
selves in these abrupt conclusions. It is used 

119 



PHILOSOPHIC ELOGVTIOm 



only in explosive form, and marks always, where 
dominant, a peevish, " crossed-grained " temper. 
Yet it marks also good qualities in our nature, 
and essentially tones and energizes the voice in 
strong manly resolve, argumentative remonstrance, 
resolute resistance, repulsion of wrong, etc. So as 
a part of our nature it becomes a necessary ele- 
ment of elocution in the artistic presentation of 
such emotions and passions. 

Note. — In its lower form of petulance and minor passions 
let the pupil, in assumed peevish or querulous mood, as 
that of a spoiled child, practice the words " I shant" 
holding for a moment on the first and then bursting on 
the second thus, I< shant. 

Again, in the higher order, supposing himself wronged, 
imposed upon and resisting improper demand in strong, 
manly tones, his indignation exploding itself on the 
words "I will not, or "I< wont," and thus a correct 
idea is obtained of its action. 

This may then be run through the voice in all 
cases where opposing, objecting, and as it were 
antagonizing the thought interpreted, or offen- 
sively expressed by another, and which will be 
better understood when the pupil advancing far- 
ther becomes conversant with qualities of voice, 
especially the impure with which it is much 
associated. 

Ex. — O, nonsense, don't<talk such<stufT to me, it is 
perfect<bosh. 

120 



VANISHING STRESS. 



Ex. — O proper< stuff, 

This. is the very painting of your fears', 

This is the air drawn< dagger which you said 

Led you to< Duncan. 

Ex. — Setting aside his high blood's royalty, 

And let him be no kinsman to my liege, 
I do defy him, and I< spit at him ; 

Meantime let this defend my loyalty. 

By all my hopes most falsely doth he< lie. 

Ex. — What a fool art thou ; 

A< ra??iping fool, to brag and stamp and sweat 
Upon my party ! Thou cold-blooded< slave. 

Ex. — And what is death ? I've dared him oft before the 

<Paynim <Cspear. 
Think ye he's entered at my gate; has come to 

seek me here ? 
I've met him, faced him, scorned him, when the fight 

was raging <hot. 
I'll try his might, I'll brave his power, defy and fear 

him not. 

Ex.— Then, on the ground, while trumpets sound the 
loudest point of war, 
Fling the red< shred, a foot-cloth meet, for Henry 
of Navarre. 

Ex. — " Be that word our sign of parting, bird or <fiend!" 

I shrieked, upstarting — 
" Get thee back into the tempest and the night's 

Plutonian shore ! 
Leave no black plume as a token of that lie thy soul 

hath spoken ! 
Leave my loneliness unbroken ! — quit the bust above 

my door ! 

121 



PHILOSOPHIC ELOCUTION. 



Take thy beak from out my heart, and take thy form 
from off my door ! " 

Quoth the Raven : " Nevermore." 

Beginners are apt in all cases to exhibit 
mechanical extravagant action under the exam- 
ples, and also to require from the teacher exag- 
gerated illustration before they can clearly see 
the application of principles enunciated. Thi 
however, is a light fault, requiring only time and 
practice, under proper instruction, to tone down 
to natural expression. 

It is this element used with rising slides of 
voice and in light explosive form that gives 
character to such language as the following : 

Speech of Walpole in Reproof of Mr. Pitt. 

Ex. — I have hitherto deferred answering the gentleman, 
who declaimed, against the bill, with such fluency and 
rhetoric, and such vehemence, of gesture; who charged 
the advocates for the expedients now proposed, with 
having no regard to any interests but their own'; and 
with making laws only to consume paper 7 ; and threat- 
ened them with the defection of their adherents, and 
the loss of their influence, upon this new discovery of 
their folly and ignorance. Nor, do I now answer him 
for any other purpose, than to remind him how little the 
clamor of rage and petulancy of invective, contribute to 
the end for which this assembly is called together^; how 
little the discovery of truth is promoted^ and the security 
122 



COMPOUND STRESS. 



of the nation established, by pompous diction and the- 
atrical emotion. 

Formidable sounds and furious declamation , confident 
assertions^ and lofty periods* ', may affect the young and 
inexperienced; and perhaps the gentleman may have 
contracted his habits of oratory, by conversing more 
with those of his own age, than with such as have more 
opportunities of acquiring knowledge, and more suc- 
cessful methods of communicating their sentiments. If 
the heat of temper would permit him to attend to those, 
whose age and long acquaintance with business give 
them an indisputable right to deference and superi- 
ority, he would learn in time to reason, rather than de- 
claim ; and to prefer justness of argument and an accu- 
rate knowledge oifacts^, to sounding epithets and splendid 
superlatives' ', which may disturb the imagination for a 
moment, but leave no lasting impression upon the 
mind. He would learn, that to accuse and prove are 
very different^ ; and that reproacJies, unsupported by 
evidence, affect only the character of him that utters them. 

Excursions of fancy and flights of oratory, are in- 
indeed pardonable in young men, but in no other; and 
it would surely contribute more, even to the purpose 
for which some gentlemen appear to speak, (that of 
depreciating the conduct of the administration',) to 
prove the inconveniences and injustice of the bill 7 , than 
barely to assert them, with whatever magnificence of 
language' ', or appearance of zeal, honesty, or compassion! 



Section IV. — Compound Stress. 

This, being a union of the two elements rad. 
and van., is thus presented to the eye>< as the 
voice-form of expression. It closely symbolizes 

123 



PHILOSOPHIC ELOCUTION. 



the radical burst and explosive vanish of sound 
thus vocalized, as we may observe, in exposition 
of the passions it interprets. These are chiefly 
scorn, disagreeable surprise, strong mental antago- 
nism, contempt, aversion, mockery, sarcasm, raillery. 
It is truly or simply the application of the falling 
and rising slides of voice, hereafter to be dis- 
cussed, but in this form embodying the volume 
of the radical and vanishing explosive elements ; 
thus giving intensity to passion which the more 
attenuate and bodyless circumflex inflection can- 
not fill up in power. 

It is confined to impassioned expression, but 
much used in our speech. The following exer- 
cise will be sufficient for voice discipline. 

>< .>"< >< 

Oh indeed what 

The rest may be practised in speech and ex- 
amples requiring for a few weeks due attention 
to their management. 

Ex. — Indignant surprise. Thou can'stXnot ! 

Ex. — Playful surprise, assumed indignation. 

>< 
" Gray temples at twenty ?" yes! white if you please; 

Where the snow-flakes fall thickest, there's nothing can 

freeze. 

124 



COMPOUND STRESS. 



Ex. — "There is, however, one man, who distinctly and 
audaciously tells the Irish people that they are not en- 
titled to the same privileges as Englishmen, and pro- 
nounces them, in race, identity, and religion, to be 
aliens, — to be aliens in race, to be aliens in country, to 
be aliens in religion! AliXens ? GoodXGod ! was 
>Arthur, Duke of Wellington, in the> House of Lords, 
and did he not start up and exclaim, > * Hold ! I have 
seen the aliens do their> duty.' " 

The following from Croly's Catiline, replying 
to the decree of the Senate, offers good example 
of the rise from strong inflections into compound 
stress. The whole speech is full of force, expul- 
sive and explosive orotund, radical and vanishing 
stress. 

W w > > 

Ex. — Banished from Rome ! What's banished, but set free 
From daily contact with the things I loathe ? 

"Tried and convicted traitor!" Who says this ? 
Who'll prove it, at his peril, on my head ? 

Banished I I thank you for't. * * * 

Then when the consul has read the decree and 
orders the lictors to drive the traitor from the 
temple; repeating the opprobrious word in rage 
and indignation, he gives it the burst and body 
of the compound stress. 

"TraiXtor!" Kgo; but — Ire<turn! etc. 

125 



PHILOSOPHIC ELOCUTION. 



Section V. — Median Stress. 

This is so called because its power is exerted 
on the middle portion of the sound. It is the 
elocutionary counterpart of the crescendo and 
diminuendo (or swell) in music, and by its sign 
<> clearly indicates to the eye the movement of 
the voice in its execution. Used with care it is 
one of the happiest vocal efforts, but if carried 
to excess becomes a marked mannerism. 

It is the symbol of thought expressed in tran- 
quil, reverential, pathetic, sublime, and solemn 
emotions, and, therein, with effusive form, never 
abrupt or explosive. 

Note. — It is upon this swell that teachers depend for 
purifying, mellowing, developing and giving flexibility to 
the voice of the singer; and in conservatories of music 
years are frequently given to its practice. If, therefore, 
weeks or months be asked from the reader, whose voice 
in speech-action, more rapid than in song, has not the 
opportunity in execution with the singer, it cannot be 
considered a too long labor — if he be in earnest. 

Let the pupil take the syllable ah, awe, oh, and occa- 
sionally practice with clear full breathing ; beginning 
softly, gradually increasing to the middle and then di- 
minishing to the close. 



mh^> ^<^mere^> <^0&^> 



MEDIAN STRESS. 



Let the practice be in low and softer forms at 
first, then varied by stronger tones and swell, 
which will furnish in itself all necessary praxis. 
From this let him turn always to the practical 
application in reading or speaking such passages 
as follow : 



Ex. — Slow time, loiv pitch, median stress, orotund. 

■o -o- <> 

Oh thou whose balance does the mountains weigh. 
Whose will the wi^O^ld tumul-<>tuous seas obey. 

Ex. — O sing unto the Lo-<>-rd a new song; sing unto the 
Lord, all the earth. For the Lord is great and greatly 
praised; He is to be feared above all gods. For all 
the nations are idols ; but the Lord made the heavens. 
O worship the Lord in the beauty of holiness ; fear 
before him all the earth. 

Ex. — You, sir, know 

That you, on the canvass, are to repeat 
Things that axe fairest, things most sweet — 
Woods, and cornfields, and mulberry tree, 
The mother — the lads — with their birds — at her knee. 
But o-O-h ! that look of reproachful woe ! 
High as the heavens your name I'll shout 
If you paint me the picture, and leave that out. 

Ex.— Ho-Oly, ho-Oly, ho<>ly Lo-O-rd ! God of 
Sabaoth. 

Holy, holy, holy Lord 7 
In the highest heavens adored, 
Author of all nature's frame, — 
Father ! hallowed be Thy name. 

127 



PHILOSOPHIC ELOCUTIONS 



When the emotions above referred to swell 
into grandeur or majesty the median takes more 
of the expulsive form, higher pitch, stronger 
force, and thus its appropriate and limited use 
gives pomp, dignity and power to expression, 
which adapts it to grand and lofty thought, 
courage, command, wonder, admiration, enthusi- 
asm, high indignation, remonstrance, adoration, 
devotion, and kindred emotions. It is peculiar 
to prayer, sacred thought and poetry, which with- 
out it seem always commonplace and charac- 
terless. 

Note. — Its abuse or excessive use, like that of thorough 
stress, leads to a form of stereotyped intonation and 
" sing-song," as also to an inflated stilted strut of voice 
that becomes offensive as a mouthing affectation, which 
must be avoided. 

All forms of grand, solemn or sublime thought in 
prose and poetry present opportunity for praxis, so that 
many examples need not be added. The following few 
will make good exercises : 

Ex. — Ossian's address to the sun. 

Expulsive orotund, strong median stress, slow time 

O thou that roll-C^est above ! rou<C>nd as the shield 
of my fathers. Whence, are thy beams, O sun, thy ever- 
lasting light ? Thou comest forth in thy awful beauty ; 
the stars hide themselves in the sky ; the moo?i, cold and 
pale, sinks in the Western wave. But, thou, thyselj 
movest alone. Who can be a companion of thy course 
128 



MEDIAN STRESS. 



The oaks of the mountains fall; the mountains them- 
selves decay with years; the ocean shrinks and grows 
again ; the moon herself is lost in heaven. But thou art 
forever the same, rejoicing in the brightness of thy 
course. When the world is dark with tempests ; when 
thunder rolls and lightning files ; thou lookest in thy 
beauty from the clouds and laugliest at the storm. 

Ex. — And 0,-O-if, perchance, there should be a sphe-^re 
Where, all is made right, which so puzzles us here, 
Where, the glare, and the glitter, and tinsel of time 
Fade and die, in the light of that region, sublime 
Where, the soul, disenchanted, of flesh and of sense 
Unscreened by its trappings, and shows, and pretence 
Must be clothed, for the life, and the service above 
With purity, truth, fait h, meekness, and love; 
O, daughters of Earth / Foolish virgins / Beware / 
Lest, in that upper realm, you have nothing to wear / 

Ex. — "Motionless tor^C>-rents ! silent cat-O-aracts ! 

Who, made you glorious, as the gates of Heaven 
Beneath the keen, full moon ? Who, bade the sun 
Clothe you with rain^O^ifows ? Who, with living 

flowers 
Of loveliest blue, spread garlands at your feet? 
God J let the torrents like a shout of nations 
Answer; and let the ice plains echo, God!" 

Ex. — Prayer of Henry V. before Agincourt. 
Effus. and expul. orotund, strong median, imp. force. 

o o o o o 

K. Hen. O God of battles ! steel my soldiers' hearts; 
Possess them not, with fear ; take from them now 
The sense of reckoning, if the opposed numbers 
Pluck their hearts from them — Not to-day, O Lo^C^rd, 
O, not to-day, think not upon the fault 
My father made in compassing the crown ! 
129 



PHILOSOPHIC ELOCUTION. 



I Richard 's body have interred new; 
And on it have bestow' d more contrite tea-Q^rs 
Than from it issued forced drops of blood; 
Five hun^C^dred poor I have in yearly pay, 
Who, twice a day, their wither'd hands hold up 
Toward heaven, to pardon blood ; and, I have built 
Two chatty-tries, where, the sad and solemn priests 
Sing sti^O^H, for Richard's soul. More wi^O^ll I do ; 
Though all that I can do is nothing worth, 
Since, that my penitence, comes, after all, 
Implor<C>ing par-0~don. 

Strong orotund, high pitch, full median stress. 
Ex. — " Bra-O-vo," cried Frances, "right-O-ly do-One! " 

Section VI. — Thorough Stress. 

This element is properly used only where the 
voice, requiring to be strengthened for distance, 
fills up the tone with body of air and gives it 
prolonged character which thoroughly sustains 
and bears the words along ; thus closely resem- 
bling force as before defined. 

We rarely hear it in ordinary life, except from 
the mouths of street pedlars and others crying 
out their wares. It is altogether out of place in 
ordinary conversation, reading or discourse, and 
always marks coarseness or want of true cultiva- 
tion. It is the ground work of the intoning style 

130 



THOROUGH STRESS. 



■which long reach of sound necessitated in large 
cathedrals, and which still spoils so much good 
reading. It is evidence of power in vocality, and 
is useful in open-air speaking to large crowds and 
in very large buildings ; though its office of former 
years, which was chiefly to aid the army- herald 
in conveying messages, standing at safe distances 
beyond the reach of weapons of those times, is 
nearly obsolete. Its perfection consists simply 
in the avoidance of throat- tones ; working the 
abdominal and dorsal muscles ; clearly articulat- 
ing and distinctly forming consonant sounds* In 
reading, it is necessary in the interpretation of 
such passage as the following — one of its most 
hackneyed examples. 

Ex. — Expul. orotund — Thorough Stress, high pitch. 



Rejoice, you men of Angiers ! ring your BELLS : 

King John, your king and England's, doth approach; — 

Open your gates, and give the victors way! 

So Rich. Ill enters, the scene Bosworth Field, 
seeking and calling with all his voice for Rich- 
mond — 

King R. What ho/ young Richmond, ho! 'tis Richard calls; 
I hate thee, Harry, for thy blood of Lancaster. 
131 



PHILOSOPHIC ELOCUTION. 



Now, if thou dost not hide thee from my sword — 
Now, while the angry trumpet sounds alarms 
And dying groans transpierce the wounded air — 
Richmond, I say ! come forth and singly face me ! 
Richard is hoarse — with daring thee to arms. 

With such stress also and expulsive orotund 
should be read the following lines of Henry V— 
calling from below to the governor of Harfleur 
and citizens on the city wall. 

King Henry. How yet resolves the governor of the town? 
This, is the latest parte, we will admit; 
Therefore to our best mercy, give yourselves ; 
Or like to men, prond of destruction, 
Defy us to our worst : for, as / am a soldier, 
A name that in my thoughts becomes me best, 
If I begin the battery once again, 
I will not leave the half-achieved Harfleur 
Till, in her ashes, she lie buried. 
The gates of mercy shall be all shut up, 
And the flesh' 'd soldier, rough and hard of heart, 
In liberty of bloody hand shall range 
With conscience wide as hell, mowing like grass 
Your fresh-fair virgins and your flowering infants. 

Owing to the inflexibility which the high pitch 
employed with this stress gives to the voice, it is, 
when much used, destructive of the grace and 
finish that other forms of stress tend to develop. 
It is deplorably too much used in the school- 

132 



THOROUGH STRESS. 



room where the shouting character of voice 
ordinarily practised or indulged in class recita- 
tions not only vitiates the tastes and manners of 
the pupils, but also their relish for literature. 
And it requires no great intelligence or philosophy 
to trace to this undoubted school abuse and habit 
the foundation and establishment of the mo- 
notony, rigidity, want of modulation and flexi- 
bility which mark the speakers from pulpit, bar 
and platform all over our country. 

Note. — The author is satisfied that many writers, copying 
it is feared, one from another, mistake the character of 
this element and confound it with force. Thus a very 
intelligent elocutionist defines it as exhibiting in one 
and the same sound that marked force of utterance 
which, radicaf, median and vanishing stress would sepa- 
rately apply; and then he attributes to it the expression 
of rapture, joy, triumph, exultation, lofty command, indig- 
nant emotion, disdain and excessive grief (already covered 
by tremor or other forms of stress), and gives it as 
follows : 

u Examples of thorough stress:" 

u Rapture, joy, triumph, exultation." 

" Expulsive orotund, Impassioned force, Powerful stress." 

From the Dying Christian. 

Lend, lend your wings! I mount, I fly!. 
O grave ! where is thy victory ? 
O Death ! where is thy sting ? 
133 



PHILOSOPHIC ELOCUTION. 



One may imagine how the ' 'dying christian' 
who a few lines before exclaims — 

What is this absorbs me quite — 
Steals my senses, shuts my sight, 
Drowns my spirit, draws my breath ? 

may, in the ecstasy of death with pure tone at- 
tenuated by weakness to partial aspirate quality 
utter with the tremor of exultation and joy those 
lines. But how that condition or he, is to assume 
the explosive orotund as one sensible writer sug- 
gests, or the tones and expression of the above 
example, formulated by a very intelligent writer, 
the present author admits to lie beyond his com- 
prehension; and he prefers to confine thorough 
stress to the limits herein defined. 

Ex. One touch to her hand and one word in her ear, 
When they reached the hall door and the charger stood 

near, 
So light, to the croupe, the fair lady he swung, 
So light, to the saddle, before her he sprung. 

She is won ! We are gone ! Over bank, bush and scaur, 
They'll have fleet steeds that follow, quoth young Lochinvar. 

Section VII. — The Tremor. 

This, by some, is regarded as a quality of 
voice, but under such arrangement a difficulty 

134 



THE TREMOR. 



presents itself in the question, " What quality?" 
It is rather a condition or intermittent stress of 
voice, common, and perhaps about equally used 
with, or applied to all qualities. It is the process 
resulting from a nervous or irregular motion of 
the diaphragm, owing to mental disquietude or 
feeling which conveys through nerve to muscle 
its negative, deranged, excited or uncertain action. 
Thus, through their irregular expansion and con- 
traction, the diaphragm quivers or trembles, so 
to speak, in short rapid elevations and descents, 
expelling the air spasmodically from the lungs in 
form of continuous, hysterical pulsations. It 
resembles the trill, shake or tremolo of the sing- 
ing voice, and may be thus symbolized . 

Under the above process it is created deep down 
in the throat, first dropping the jaw and after 
the manner of light laughter, throwing rapid 
percussive action on the diaphragm and thereby 
into voice, thus breaking impassioned force into 
abrupt stress, and ejecting it like little balls or 

jets of SOUnd ooooooooooooo 

Note. — Take the sound hoh— let the jaw fall, and at- 
tempt a light, hearty laugh; then a little stronger — 
again still stronger, keeping the air in forceful pressure 

135 



PHILOSOPHIC ELOCUTION. 



from the lungs, and continue long as possible. Thus 
for full exercise, practice upon the various elemental 
sounds, syllables and words in varied pitch until the 
tremor become easy and natural in its execution. If 
difficult to effect by the pupil a few minutes illustration 
by the teacher is worth pages of written instruction, as 
no difficulty is really present when the voice action is 
once acquired. 

It is the natural expression of physical weak- 
ness, enfeebled age, infirmity, grief and consequent 
emotions, but is employed with varied qualities 
of voice expressing many passions — exultation, 
joy, mirth, rapture, grief, sorrow, deep distress, 
scorn, contempt, sarcasm, derision, mockery, fiend- 
ish glee, chuckling revenge, etc, 

It must always be accompanied by feeling or 
passion, and generally strikes the emphatic words, 
except in extreme age, great excitement, strong 
emotion, debility, when it may pervade almost the 
entire utterance, as in the following old ballad : 
Pity the sorrows of a poor old man 
Whose trembling limbs have borne him to your door, 
Whose days are dwindled to the shortest span, 
Oh, give relief! and heaven will bless your store. 

Oh, take me to your hospitable dome ! 
Cold blows the wind and piercing is the cold; 
Short is my passage to the friendly tomb, 
For I am poor and miserably old. 



THE TREMOR. 



The other extreme is exhibited in malignant 
thought, fiendish glee or joy, as in Shylock's 
impassioned exultation and chuckle over the 
news of Antonio's losses which he thinks are to 
bring about his plotted revenge. 

Voice qualities, guttural and aspirate, high pitch, rapid 
movement. Tremor throughout. 

Tub. Yes, other men have ill luck too : Antonio, as I 

heard in Genoa, — 
Shy. What, what, what ? ill luck, ill luck? 
Tub. Hath an argosy cast away, coming from Tripolis. 
Shy. I thank God, I thank God. Is't true, is't true ? 
Tub. I spoke with some of the sailors that escaped the 

wreck. 
Shy. I thank thee, good Tubal : good news, good news ! 

ha, ha ! where ? in Genoa ? 

So also it is shown in the rapid revulsion to 
deep grief which seizes Shylock in the next sen- 
tence when reminded of his own loss. 

Tub. Your daughter spent in Genoa, as I heard, in one 
night fourscore ducats. 

Shy. Thou stickst a dagger in me : I shall never see my 
gold again : fourscore ducats at a sitting ! fourscore 
ducats ! 

Tub. There came divers of Antonio's creditors in my com- 
pany to Venice, that swear he cannot choose but break. 

Shy. I am very glad of it : I'll plague him ; I'll torture 
him : I am glad of it. 

137 



PHILOSOPHIC ELOCUTION. 



And so in his grief which pervades the follow- 
ing — the voice movement retarded, as it always 
is in grief — supplemented also in this example 
by rising slides and querulous tone. 

Shy. Why, there, there, there, there! a diamond gone, 
cost me two thousand ducats in Frankfort ! The curse 
never fell upon our nation till now; I never felt it till 
now: two thousand ducats in that; and other precious, 
precious jewels. 

Again in pure grief, as Milton P. L., Book x, 
914, makes Eve address— u With tears that 
ceased not flowing, and tresses all disordered," her 
contemptibly mean and selfish husband ; who 
while spurning and cursing her for generous, lov- 
ing act — overlooks his own brainless indiscretion. 

Ex. — Pure tone, slow time and tremor throughout. 

Forsake me not thus, Adam ! Witness heaven 
What love sincere— and— reverence in my heart 
I bear thee, and — unweeting have offended 
Unhappily deceived — thy suppliant 
1 beg, and clasp thy knees. Bereave me not 
Whereon I live — thy gentle looks — thy aid — 
Thy counsel, in this— uttermost distress— 
My only strength and stay ; forlorn of thee 
Whither — shall I betake me, where— subsist? 
While yet we live — scarce one short hour perhaps — 
138 



THE TREMOR. 



Between us two, let there be peace, 
# # * * # On me exercise not 
Thy hatred for this misery, befallen — 
On me already lost — me, than thyself, 
More miserable ; both have sinned, but thou 
Against GWonly, I, 'gainst God and thee; 
And, to the place of judgment, will return 
There — with my cries — importune heaven, that all 
The sentence from thy head, removed — may light 
On me t sole cause — to thee — of all this woe 
Me, only me — just object of his ire. 

It is worth the effort of the reader and speaker 
to dwell on this element of stress, for it is 
nature's true exponent of her most sensitive and 
expressive sympathy. So universal is its action 
that it is hardly confined to humanity, but finds 
its counterpart in lower nature. The bleating of 
the lamb and other symbols in the inferior ani- 
mal are of like physiology, and convey to our 
ear the sense of similar emotions there. Its pres- 
ence speaks the thrill that moves the lover's 
heart; the delicate sensibility that trembles in 
the sympathy of friend ; the penitential thought 
that bursts from sinner's breast ; and without it 
many of the most beautiful and captivating pas- 
sages of our literature fail of the charm which 
inspired their authors. 

139 



PHILOSOPHIC ELOCUTION. 



Ex. — Luke xviii : 9. Two men went up into the temple 

to pray, &c. The Pharisee stood and prayed thus, etc. 

13. And, the publican, standing afar off, would not 

lift up so much as his eyes unto heaven, but smote 

upon his breast, saying, God be merciful to me a sinner. 

Ex. — Pure tone, impassioned expulsive force, 
tremor throughout. 
Agonizing appeal. — Lalla Rookh. 

O, could'st thou but know 
With what a deep devote dness of woe 
I wept thy absence — o'er and o'er again 
Thinking of thee — still thee, 'till thought grew pain 
And memory, like a drop, that, night and day 
Falls cold and ceaseless, wore my heart away. 
Did'st thou but know, how pale I sat at home 
My eyes still turned the way thou wert to come 
And all the long, long night of hope and fear 
Thy voice and step still sounding in my ear — 
O God ! Thou would'st not wonder that at last 
When every hope, was, all at once, o'ercast 
When I heard frightful voices round me say 
Azim is dead ! my wretched brain gave way 
And I became, a wreck, at random driven 
Without one glimpse of reason or of heaven. 

Ex. — Triumph, Exultation, Rapture. 
Tremor, aspirated pure tone, quick time, subdued force. 
The Dying Christian. 

The world recedes — it disappears 

Heaven opens on mine eyes ! mine ears 

With sound seraphic ring 

Lend, lend your wings ! I mount ! I fly ! 

O grave ! where is thy victory ? 

O death ! where is thy sting ? 



TEE TREMOR. 



Ex. — Ecstacy, Joy. Jennie Brown, Relief of Luc know. 
Tremor, high pitch, quick time, expulsive force. 

"The Highlanders! O dinna ye hear 

The Slogan far awa ? 
The Macgregors ! O ! I ken it weel, 

Its the grandest o' them a ! " 
" God bless the bonny Highlanders! 

We're saved ! We're saved ! she cried, 
And fell on her knees and thanks to God 

Flowed forth like a full flood-tide. 

Ex. — Gladsome Joy. 

Tremor, rapid median stress, pure quality, high pitch. 

"You must wake and call me early, call me early, 
mother dear, 

To-morrow'll be the happiest time of all the glad New- 
Year; 

Of all the glad New-Year, mother, the maddest, 
merriest day ; 

For I'm to be Queen o' the May, mother, I'm to be 
Queen o' the May. 

" I sleep so sound all night, mother, that I shall 
never wake, 

If you do not call me loud when the day begins to 
break ; 

But I must gather knots of flowers, and buds and gar- 
lands gay, 

For I'm to be Queen o' the May, mother, I'm to be 
Queen o' the May. 

141 



PHILOSOPHIC ELOCUTION. 



Under force and stress let it be finally added 
that very many, with very good voices, make very 
bad reading owing to some mannerism; it may 
be a drawling -apathy, a monotonous intonation, a 
stereotyped cadence, a measured recurrence of in- 
flection, a want of sparkle or brightness in voice, 
etc., each or all of which must be broken up be- 
fore good reading can be effected. For such and 
for students generally the following selections are 
inserted as most salient exercises for cultivation 
of force and stress under various forms above dis- 
cussed, and therein for the certain eradication of 
the defects referred to. 

Note. — The special object of this work is not to teach 
certain pieces for recitation, but rather to prepare the 
voice for speaking, reading, or reciting all " pieces." 
The selections therefore have in addition to their force 
and beauty the higher purpose of applied utility. 

Ex. — The Battle of Naseby — Macaulay, 

Chiefly Expul. and Explo. Orotund — do. force and stress. 

> > > > 

Oh ! wherefore come ye forth in triumph from the North, 
With your hands and your feet and your raiment all red? 

And wherefore doth your rout send forth a joyous shout? 
And whence be the grapes of the zuine-pvess which ye tread ? 

Oh, evil was the root, and bitter was the fruit, 

And crimson was the juice of the vintage that we trod; 

For we trampled on the throng of the haughty and the strong, 
Who sate in the \i\g\i places and slew the saints of God. 
142 



FORGE AND STRESS— EXPULSIVE. 



It was about the noon of a glorious day of June, 

That we saw their banners dance and their cuirasses shine; 

And the man of Blood was there, with his long essenced hair, 
And Astley and Sir Marmaduke and Rupert of the Rhine ! 

Like a servant of the Lord, with his Bible and his sword, 
The General rode along us to form us for the fight, 

When a murmiwing sound broke out, and swelled into a shout, 
Among the godless horsemen upon the tyrant's right. 

And hark ! like the roar of the billows on the shore, 
The cry of battle rises along their charging line ! — 

For God ! for the Cause ! for the Church ! for the Laws ! 
For Charles King of England, and Rupert of the Rhine ! 

The furious German comes, with his clarions and his drums, 

His bravoes of Alsatia and pages of Whitehall ; 
They are bursting on our flanks ; — grasp your pikes ; — close your 
ranks ; — 

For Rupert never comes but to conquer or to fall. 

They are here ; — they rush on ! We are broken— we are gone ; — 
Our left is borne before them like stubble on the blast. 

O Lord, put forth thy might ! O Lord, defend the right ! 
Stand back to back, in God's name, and fight it to the last. 

Stout Skippon hath a wound ; — the centre hath given ground ; 

Hark ! hark ! What means the trampling of horsemen on our rear? 
Whose banner do I see, boys? — 'Tis he, thank God, 'tis he, boys! 

Bear up another minute. Brave Oliver is here ! 

Their heads all stooping low, their points all in a row, 

Like a whirlwind on the trees, like a deluge on the dykes, 

Our cuirassiers have burst on the ranks of the Accurst, 
And at a shock have scattered the forest of his pikes. 

Fast, fast, the gallants ride, in some safe nook to hide 
Their coward heads, predestined to rot on Temple Bar. 

And he — he turns, he flies ! — shame to those cruel eyes 
That bore to look on torture, and dare not look on war. 

Ho! comrades, scour the plain ; and ere ye strip the slain, 
First give another stab to make your guest secure ; 

Then shake from sleeves and pockets their broad-pieces and lockets, 
The tokens of the wanton, the plunder of the poor. 

143 



PHILOSOPHIC ELOCUTION. 



Fools ! your doublets shone with gold, and your hearts were gay and 
bold, 

When you kissed your lily hands to your lemans to-day; 
And to-morrow shall the fox, from her chambers in the rocks, 

Lead forth her tawny cubs to howl above the prey. 

Where be your tongues that late mocked at heaven and hell and fate, 
And the fingers that once were so busy with your blades ; 

Your perfumed satin clothes, your catches and your oaths, 

Your stage plays and your sonnets, your diamonds and your spades? 

Down, down, for ever down, with the mitre and the crown, 
With the Belial of the Court, and the Mammon of the Pope ; 

There is woe in Oxford Halls ; there is wail in Durham's Stall ; 
The Jesuit smites his bosom; the Bishop rends his cope. 

And She of the seven hills shall mourn her children's ills, 

And tremble when she thinks on the edge of England's sword ; 

And the kings of earth in fear, shall shudder when they hear 

What the hand of God hath wrought for the Houses and the Word. 

Ex. — From Song of the Stars. — Bryant. 
Rapid median and rad. stress, high pitch. 

" Away\ away y , through the wide, wide sky, 
The fair, blue fields that before us lie; 
Each sun, with the worlds that round him roll, 
Each planet, poised on her turning pole, 
With her isles of green, and her clouds of white, 
And her waters that lie like fluid lights 

" Away\ awayM In our blossoming bowers, 
In the soft air, wrapping these spheres of ours, 
In the seas, and fountains that shine with morn, 
See\ love is brooding, and life is born s , 
And breathing myriads, are breaking from night, 
To rejoice, like us, in motion and light\ 

" Glide on s , in your beauty, ye youtMul spheres, 
To weave the dance that measures the years. 
144 



FORCE AND STRESS— DIMW. 



Glide #/z\ in glory and gladness se?it 

To the farthest wall of the nrmament\ 

The found less, visible smile, of Him, 

To the veil of whose brow our lamps are dim." 

Ex — From The Voice of Spring. — Mrs. Hemans. 
Rapid movement, high pitch, orotund, rad. and dim. stress. 

> > > > 

I come, I come ! Ye have called me long, 
I come o'er the mountains, with light and song, 
Ye may trace my step o'er the wakening earth, 
By the winds which tell of the Volets birth, 
By the/rzwrose stars, in the shadowy grass, 
By the green leaves, ^ening, as I pass. 
****** 

I have looked, on the hills of the stormy North 
And the larch has hung all his tassels forth, 
The fisher is out on the stormy sea 
And the reindeer bounds o'er the pastures free, 
And the pine has a. fringe of softer green 
And the «&?.?$ looks bright, where my foot hath been. 
****** 

From the streams and founts I have loosed the chain 
They are jo/^ing on, to the silvery main, 
They are flashing down, from the mountain brows 
They are flinging spray o'er the forest boughs 
They are bursting, fresh, from their sparry caves 
And the earth resounds with the joy of waves 
****** 

Away from the dwellings of care-worn #/<?# 
The waters are j^tf/^ling, in grove and glen 
Away from the i^a/aber, and sullen hearth 
Thg young /<?0tw axe dancing in breezy /?zz>th 
Their light stems //fcrz'//, to the wildwood strains 
And. youth is abroad in my green domains. 

145 



PHILOSOPHIC ELOCUTION. 



Both of these poems in full, with such spark- 
ling compositions as the following, and. others 
from Moore's melodies, are proper antidotes for 
the defective voice action last above mentioned. 

Hail to thee ! hail to thee kindling Power! 

Spirit of Love ! Spirit of Bliss ! 

Thy holiest time is the moonlight hour 

And there never was moonlight so sweet as this. 

By the fair and brave who blushing unite 

Like the sun and wave, when they meet at night, 

By the tear that shows when passion is high 

As the rain-drop flows from the heat of the sky 

By the first love beat of the youthful heart 

By the bliss to meet and the pain to part 

By all that thou hast to mortals given, 

Which — O could it last, this earth were heaven ! 

We call thee, hither, entrancing Power ! 

Spirit of Love, Spirit of Bliss ! 

Thy holiest time is the moonlight hour, 

And there never was moonlight so sweet as this. 

Lalla Rookh. 

Wreathe the bowl, with flowers of soul 
The brightest wit can flnd us 
We'll take & flight, toward heaven, to-night 
And leave dull earth behind us 
Should love amid the wreaths be hid, 
That Joy, the enchanter, brings us 
No danger fear, while wine is near, 
We'll drown him, if he stings us. 

Then wreathe the bowl, &c. 

146 



CHAPTER VIII. 

Qualities of Voice. — Pure Tone. 



The phenomenon of voice and its articulation 
being understood, the first thing to be sought 
in the commencement of proper elocutionary 
training is the ability to make pure, clear tones. 
And as this depends altogether upon correct 
management of breath, it may be desirable, espe- 
cially for older pupils, who as a rule do not 
relish long lessons in breathing, to adopt such 
exercises as with the above preliminary instruc- 
tions in the natural office of using the lungs 
and vocal organs, will serve to continue and 
enforce simultaneously the principles of breathing 
and voice culture. 

Pure Tone, which is the clear, untainted quality 
of the voice in healthy physical condition, pre- 
served from vicious influences of school training, 
nasal peculiarities, etc., commonly prevailing, is 
in fact a milder, softer, subdued form of that 
highest quality, the Orotund. But let us accept 
it as a distinct quality for structural purposes and 

147 



PHILOSOPHIC ELOCUTION. 



conditions, using it here, as above suggested, to 
perfect thorough breathing, and therein as a basis 
of larger voice development in the orotund. 

To enunciate clearly and carefully, to keep 
the breath moving regularly, to exercise a sparing 
economy in its emission, converting it into voice, 
is absolutely necessary to the formation of the 
soft and liquid quality of this tone. 

It is attained by much the same process as 
laid down for firm, natural breathing, namely: 

Keep the tongue fiat as possible in the mouth, 
the pharynx well expanded and pressed back, the 
head erect, the uvula raised; then with tranquil 
pressure of the abdominal muscles and diaphragm 
urge the air through the glottis in clear, smooth, 
compact volume against the palate. 

This will give the effusive pare tone, which 
is used in the expression of pleasing, tranquil 
thought, pathos, solemnity. 

And the best practice is upon words contain- 
ing long vowels, as in the following : 

Long sound of A as in fate, aid, lace. 

Occasional sound of E as in ere, also ei-in feint. 

Note.— Let the student mark and obey the instructions 
as to position and breathing in Chap. Ill, intended for 
all exercises. 

148 



VOICE QUALITY— PURE TONE. 



Ex. — The patriots ate the apricots and presented bracelets for 
latent patriotism, sapient magi and patriotic patrons who 
patronized or gave their patronage to the Caucasian 
race. They catered for the radiant stamens, salient, 
squalor and the halo gratis. The Malay matron tore 
the cambric and made a caret for the eighteen carat 
gold tiara which ere a decade the h<?/nous B<?y will lay 
as a prey in the Eyrey and in grave ob«sance to the 
D^y present with bou-q^/t at the matin*/. 

Long sound of E as in mete, seal, fear, keep. 
Occasional sound of i and y — as in machine. 

Ex. — He veere<\ from his theme and cheered the dean 
whose zeal /^ded no heat to fee\ the ev'\\ which the 
sacri/<?gious scheme would bre<?d. Cesar's *dict sealed by 
the isdile leaves presence to the league, and his eagles 
s/z/vVked a p^an on the lea. The Sheik's beard which pre- 
ceded the <?poch of tumors steamed like a ;#*teor, and 
the egotist seemed pleased with h'xs plenary leisure. The 
/<faple held thejiend a;//<?«able for j^ring his liege, and 
teased the police of the hostile to s<f/ze the mandan'w for 
his caprice at the magazine, while the unique financ/*r 
fatigued with his antique bombast valise retreated 
through the ravine and ate verdigra to relieve the 
cri/za?/<f. 

Long sound of I — as in pine, file, find. 
Strong sound of Y — as in ally, magnify. 

Note. — This is one of the strong, stately and 
dignified sounds of oar language, often much 
abused by attenuation. To obtain its fulness, 
open the teeth about half an inch, breathe 

149 



PHILOSOPHIC ELOCUTION. 



strongly as if pronouncing ah — and let the sound 
move, as the mouth closes, into e. Thus, ah— e, 
putting as it were, a pompous egotism into the 
pronunciation. 

Ex.— The Gentiles obliged their canine and fe/z/ze tribes 
to use quinine, and iodide of zron with sac'charz>z<? lilacs 
in their wmes to expedite the cure of bronchi' t\s. The 
grindstone and carbine lie lengthwise on the homon, and 
a /my lez^'athan on the h«'ghts of Kby-dos, aspires to j^ 
through the ;/z/croscop'ic cal/z'o-pe. The edz'/<? likes spike- 
nard for his mice that lie in triads down the tfz'j-le since 
the binary digest of the chrys'o/zte was hired as a zYa'ra 
by the choir. The z'ras'cible z'zrn'erant became irate 
over the <£zog'raphy of the ^antic /ypograph'ic isolator 
whose ^zen'nial dilem' ma primarily presented the zdea 
as a criterion which would min'xfy or magnify the power 
to proph'e^y or rather the power of prophecy in July. 

Long sound of O — as in note, foal, tow, sore. 

Note. — Let the teeth be opened wide enough to insert 
the top of the forefinger, the mouth rounded and lips 
slightly protruded, the tongue kept flat. 

Ex — The old doge folded his cloak and /<?th to show his 
depth of woe broke slowly into joke about the vote that 
woke no hope. Th<?se p<?les we stole from the hollow, 
yellow, willow osier growing by the moat, and from the 
win-dow of the coach beheld the sonorous y<?<?man hoe 
pota7<?<?j- in a row. ffib came home from Rome and 
p<?zzred tallow over the bologna resting on the broach, 
although the pre^cious widow holds her gold br<?<?ch 
as a trophy before the fellow's nose. The beau stole 
150 



VOICE QUALITY— PURE TONE. 



the haufboy and Ham' beaux from the bureau of the 
ch&teati, and sewed them in his port-man7<?<?# with the 
s/iewbiQSid and borrow of the nlateait. 

Sound of O long and close, as in move, prove, food. 

This sound is made with the teeth less widely 
open, and the lips more protruded than the former 
sound o. Keep tongue flat in mouth. 

Ex. — The poor \0011 would undo his shoe in the boom, and 
soon grew rude as a bootless trou'bz.d.our ■; the sooty- 
courier acc<?^tred like a g^r'mand stoops to gam doge 
the goose for a douceur ; by c<?7.//-de-main the y<?//thful 
zoozoo chases to woo the ruelul ]ew whose uncouth 
snood it behoves the moody tourisi to loop to his drap- 
ing surtout lest some booby shoot the bousy n<?<?dle 
mooring his cauoe to the moon, and like a goose'berry 
fool receive his doom by a trous-de-loup. 

In all exercises pupils should be particular to 
secure true and exact pronunciation of words, 
pure and correct sounds of the elements, such 
being absolutely essential to good elocution. 

Refined pronunciation depends principally on 
the pure and correct sounding of the voivels and 
diphthongs in their syllabic arrangement. — Dis- 
tinctness, in like manner, on the clear enuncia- 
tion of the consonants. 

151 



PHILOSOPHIC ELOCUTION. 



No excuse will justify the following and simi- 
lar slovenly pronunciations. 

Invested as Invest///. Sweetest as SweetzV/. 

Innocent as In/z/cent. Violence as Vwhmce. 

Bloodless as Blood liss. Tremendous as Tremendious. 

Garments as Garmun/s. Loveliest as LovelizV/. 

Ignorant as Ignurunt. Society as Sussity. 

Shameless as Shame//^. Covetous as Covetwus. 

Kept as Kep, etc. Wept as WeJ>, etc. 

Precision in these matters requires care lest we 
carry such to excess, and relying too much on 
analogy commit grave blunders. There is no 
advice so good as that which suggests a 
constant consultation of your dictionary, for our 
language is only moving to perfection. No rules 
are yet formulated as absolute guides, and what 
often seems directly analogous pronunciation can- 
not be relied upon, for on highest authorities 

Fellows is pron. YtWoz. Yet Bellows is pron. Bellus. 
Fallows is pron. Falloz. Yet Gallows is pron. Gallus. 

It is very desirable and necessary to im- 
press upon readers the importance of avoiding 
slovenly pronunciation, and upon teachers the 
impropriety of permitting the establishment of 
such habits, which would not exist if word pro- 

152 



VOICE QUALITY— PURE TONE. 



nunciation were attended to instead of single ele- 
mental sounds. An extract from the letter of a 
reasonably intelligent boarding-school Miss pre- 
sents a fair illustration of this abuse. 

" I almost wish there were no vowels in our language, I 
" am so tired of puckering my mouth into such silly 
" forms for their pronunciation. We spent all last year 
" on them, I filled up two copy-books, and then knew 
" nothing of them till you taught me. Now we are 
" going over them again. While in the face of all, 
" our teacher in her reading and conversation says ' git ' 
" for get, and ' uv ' for of, ' toon ' for tune, ' en rowt ' for 
" l en route] etc., besides I am afraid I am getting those 
" horrid sepulchral tones ; I do not want any more les- 
" sons, but I am afraid of making her angry." 

And the worst feature of it is that the school- 
girl is correct. It is often cause of wonder that 
intelligent pupils tolerate so much. 

Long sound of U as in June, tube, suit, plume. 

" Ew flew, slew, new, dew. 

There is no vowel in our language so much 
abused as the long u, which in spite of the fact 
that no orthoepist or authority in English can 
be found to support such, is almost universally 
pronounced as "oo. v Americans so careful of 
their duties to the State, so justly proud of their 
constitution, yet regardless of all rule, are very 
rarely heard to pronounce either word correctly ; 

153 



PHILOSOPHIC ELOCUTION. 



but constantly talk of their " dooties " to the 
constitution, etc. 

There can be found no lexicographer to sanc- 
tion such pronunciation, and our own Webster 
and Worcester, the highest in the world, consume 
about half a quarto page in denouncing it. Still, 
educated ladies and gentlemen in drawing-rooms 
and in public ; teachers and professors in schools 
and in universities; ignorant elocutionists and 
learned theologians, on platform and in pulpit, 
continue its abuse in at least nineteen-twentieth s 
of the words where it is used. 

A lawyer talks of sooing a doo bill, or putting 
a note in soot as soon as it vnddoors. 

A teacher tells you of the dooty of scholars to 
footers as discussed at last Saturday's institoot. 

A public reader and professor of elocution will 
take the. stage, and following vile pronunciations 
prove himself unfitted for a teacher in hundreds 
of readings such as these : 

Shy. I have possess'd your grace of what I purpose; 
And by our holy Sabbath have I sworn 
To have the doo and forfeit of my bond : 

* # * * 

So can I give no reason, nor I will not, 
More than a lodged hate and certain loathing 
I bear Antonio, that I follow thus 
A losing soot against him. 
154 



VOICE QUALITY-PURE TONE. 



And a learned doctor of divinity does not seem 
ashamed to read : 

"Therefore they shall be as the morning cloud and as the 
early doo (dew) that passeth away." 

Some time ago, in teaching, the author im- 
provised for a class of ladies the following dog- 
gerel in order to arrest their attention in this 
regard, which, answering the purpose so well, 
has not since been changed, and is here sub- 
mitted as an exercise: 

I presume that the tune 
You assume to be new 
Was known to the duke 
And his flutist ere you 
Ever heard of a lute, 
Or the flute that he blew ; 
That the dew on the grass, 
And the note that is due, 
With the words constitution, 
And plume, flume and flew, 
With hundreds beside 
Which contain the long u, 
Sound just as absurdly, 
Pronounced as men do, 
To the ear of the scholar, 
The student, the muse, 
As to say we refoose it 
Instead of refuse. 

The intelligent reader will concede that the 
above is not intended as a sample of first-class 

155 



PHILOSOPHIC ELOCUTION. 



poetry; yet, as a matter of scholarship and taste, 
we might as well assert such as to be guilty of 
reading it after the manner of many teachers and 
reasonably educated people. 

I preswm that the toon 
You ass<?<?m to be noo 
Was known to the dook 
And the fiWtist ere you 
Ever heard of a loot 
Or the floot that he bloo, etc. 

Let us assume a not unlikely case. A young 
gentleman at an evening party sits down to the 
piano and sings. The company is pleased, and 
a young lady graduate remarks, "I presoom 
that toon is noo," and the company "presooms" 
it also without any special shock, A short time 
after, the young gentleman pressed, at refresh- 
ment, to accept more grapes or bon-bons, 
replies, "I beg you will excoose me, I must re- 
foose you as I have still a fooP The whole 
company stare in wonder at him, and his ignor- 
ance is pitied. 

Yet why ? He has been guilty of no grosser 
mispronunciation than the young lady who " pre- 
sumed the toon was noo." 

Before quitting this part of our subject, it may 

156 



VOICE QUALITY— PURE TONE. 



be necessary to remind pupils that these remarks 
apply only to the long sound of u; also that u 
and its cognates are never found long after r, but 
take always the modified sound of oo in moon or 
o in move; as — rude, true, crew, drew, crude, cheru- 
bim, erudite, garrulous, &c. They also take that 
sound after s when it has the sound of sh — as 
sure, swgar, mensuration, commensurate, etc. 

Now there may be a thousand ways of attempt- 
ing to excuse these errors, for man is an ingenious 
animal, but there is no excuse. It is ignorance, 
the result of careless education, and it is not con- 
fined to the abuse of the long u, of which only 
the present section treats. There is much need 
of good elocution in our schools ; much need that 
teachers, professors, doctors of divinity and others, 
who justly enough smile at its use and abuse in 
the hands of ignorant instructors, should know 
how broad and comprehensive is the subject they 
neglect, yet so much require. 

For practice on this quality of voice, let pupils 

read the following selections as marked: 

Note. — Let it be observed that occasional extracts and selec- 
tions throughout this treatise are, after examples given, 
sometimes left unmarked in part or in whole so as to afford 
opportunity lor pupils to exercise their own judgment. 
157 



PHILOSOPHIC ELOCUTION. 



" NEARER, MY GOD, TO THEE." ' 

Pure tone — slow time — moderate pitch — smooth median and 
dim. stress. 

i. Nearer, my God, to thee, 

Nearer to thee : 
Even though it be a cross 

That raiseth me, 
Still-all my song shall be, 
Nearer-my God-to thee, 

Nearer to thee. 

2. Though-like a wanderer, — 

Daylight all gone, 
Darkness be over me, 

My rest-& stone, 
Yet-in my DREAMS-I'd be 
Nearer-my God-to thee, 

Nearer to thee. 

3. There-let the way appear 

Steps, unto heaven ; 
A //-that thou sendest me — 

In mercy given, 
Angels-to beckon me 
Nearer-my God-to thee, 

Nearer to thee. 

4. Then-wiih my waking thoughts 

Bright-with thy praise — 
Out of my stony griefs, 

Bethel-1'11 raise; 
So -by my woES-to be 
Nearer-my God-to thee, 

Nearer to thee. 

158 



VOICE QUALITY— PURE TONE. 



5. Or-if on joyful whig, 

Cleaving the sky, 
Sun, moon, and stars forgot, 

Upward-\ fly, — 
Still— bW. my song shall be, 
Nearer, my God, to thee, 

Nearer to thee. 

[S. F. ADAMS. 

THE LOST CHORD. 

Pure tone — slow time — moderate pitch — smooth median and 
dim. stress. 

> > 

Seated, one day, at the organ, . 

I was weary, and,-ill at ease, 
And my fingers wandered idly 

Over the noisy keys. 

I do not know, what I was playing, 

Or what I was dreaming then ; 
But — I struck one chord of music 

Like the sound of a great amen. 

It flooded the crimson twilight 

Like the close of an angel's psalm, 

And it lay, on my fevered spirit, 
With a touch, of infinite calm % 

It quieted pd'm and sorrow 

Like ldve overcoming strife — 
It seemed the harmonious echo 

Of our discordant life. 

It linked all perplexed meanings 

Into one perfect peace, 
And tre?nbled away into silence 

As if it were loth to cease. 
159 



PHILOSOPHIC ELOCUTION. 



I have sought, — but — I seek it vainly 

That one lost chord divine 
That came from the soul of the organ 

And entered into mine. 

It may be that Death's bright angel 

Will speak in that chord again, 
It may be-that-onlv-//z Heaven 

I shall hear — that grand amen. 

[ADELAIDE A. PROCTOR. 

THE SCULPTOR BOY. 

Pure tone. — slow time — moderate pitch — smooth median and 
dim. stress. 

Chisel in hand-stooA a sculptor boy 

With his marble block, before him, 
And, his face lit up, with a smile of joy 

As an angel dream passed o'er him. 
He carved that dream on the yielding stone 

With many a sharp incision; 
In Heaven's own light, the sculptor shone — 

He had caught — that angel vision. 

Sculptors of life are we, as we stand 

With our lives uncdrven, before us, 
Waiting the hour, when, at God's command 

Our life-dream passes o'er us. 
Let us carve it then, on the yielding stone 

With many a sharp incision ; 
Its heavenly beauty, shall be our own — 

Our lives — that angel vision. 



160 



VOICE QUALITY— MONOTONE. 



Section II. — The Monotone. 

This may be considered rather as a character 
or condition than as a distinct quality of voice. 
Yet it has one special office, as below treated^ 
and is, as an exercise, the most beneficial and po- 
tent in its effects on voice. The advantages 
arising from it cannot be overrated, and depend 
much upon faithful, continued practice, which 
should be started about middle register of voice 
and reduced at each repetition until barely 
audible. 

Note. — Keep the mouth formed as directed in pure tone, 
the tongue flat, uvula well raised, larynx depressed and 
a full volume of air passing through the well-opened 
glottis. Keep the tones always level, full and round, 
the vowels clear and pure in their enunciation, and free 
from fusion with the consonant sounds. Thus it is em- 
ployed in solemnity, sublimity, reverence, awe, etc. 

Ex. High-on-a-throne-of-ro-yal-state,-which-far 
Out-shone-the-wealth-of-Or-mus-and-of-Indj 
Or-where-the-gor-geous-east,-with-rich-est-hand, 
Showers-on-her kings,-bar-ba-ric pearl-and-gold, 
Sa-tan-ex-alt-ed-sat. 

This is one of the most effective exercises, and 
is to be read slowly in syllabic divisions as here 
given. Let it be a standing practice. 

161 



PHILOSOPHIC ELOCUTION. 



This character of voice, although properly a 
slow, continuous, level tone, is capable of some 
variety, and in deep solemnity it may be some- 
times moved from higher to lower key, and with 
also quick or slow movement, long and sustained 
quantity and organ tone, or with staccato action. 
There may be also an occasional exceptional 
syllable perceptibly departing from the monotone 
into slight inflection, as in cases of pause, termi- 
nation of sentences, etc.; for properly speaking, we 
can make no sound absolutely uninflected. In 
practice, however, maintain as clearly and nearly 
as possible the even level tone. 

The monotone has its special province, the 
supernatural, being the only quality or character 
of voice employed in such impersonation or inter- 
pretation. Hence, readings like the following in 
prolonged and level tones form the most effective 
practice, 

Note. — Let this mark — — - represent the monotone. 

Ex. Ghost. — I am thy father's spirit; 



Doomed for a certain term to walk the night, 
And, for the day confined to fast in fires, 
Till the foul crimes, done in my days of nature, 
Are burnt and purged away. But that 1 am forbid 
To tell the secrets of my prison-house, 
162 



VOI0E QUALITY— MONOTONE. 



1 could a tale unfold, whose lightest word 

Would harrow up thy soul; freeze thy young blood; 

Make thy two eyes, like stars, start from their spheres; 

Thy knotted and combined locks to part, 

And each particular hair to stand on end, 

Like quills upon the fretful porcupine : 

But this eternal blazon must not be 

To ears of flesh and blood : — List — List — O List ! — 

If thou didst ever thy dear father love, 

Revenge his foul and most unnatural murder, etc. 

— Hamlet, Act i, Sc. 5. 

The voice, however, is confined to the rigid 
effusive only in the truly supernatural, where, as in 
the above example, it takes very little inflection 
or undulation. In truth, the confinement of the 
voice to one unchanging character is in itself the 
evidence of the unnatural or supernatural It is 
from this fact that elocution through simple phil- 
osophy deduces the principle for thus employing 
it, and therefore should monotonous readers take 
note of the unnatural condition to which they 
sometimes reduce themselves. 

In solemnity, sublimity, reverence and the 
like, the monotone in its effusive and expulsive 
forms is much employed in scripture reading, 
prayer, etc., of which the field of example is so' 
wide that the student may choose ad libitum. 

163 



PHILOSOPHIC ELOCUTION. 



Ex. — Man dieth and wasteth away; yea, man giveth up 
the ghost, and where is he ; as the waters fail from the 
sea and the flood decayeth and dryeth up, so man 
lieth down and riseth not ; till the heavens be no more ■ 
they shall not awake nor be raised out of their sleep. 

Ex. Holy ! holy ! holy Lord God of Sabaoth. Heaven 
and earth are full of the majesty of thy glory. 

The Lord is in his holy temple ; let all the earth keep 
silence before Him. 

When the wicked man turneth away from his wick- 
edness that he hath committed, and doeth that which 
is lawful and right, he shall save his soul alive. 

With an occasional rise into the orotund, this 
is the voice tone or quality essentially adapted 
to church service, and with the appropriate use 
of the median stress need never assume that 
drowsy, meaningless intonation too often heard. 
No tone is as reverent as that in which it may 
out-pour "the confession." 

Ex. Almighty and most merciful Father ; we have erred 
and strayed from thy ways like lost sheep ; we have 
followed too much the devices and desires of our own 
hearts. We have offended against thy holy law. We 
have left undone those things which we ought to have 
done ; and we have done those things which we ought 
not to have done, and there is no health in us. But 
thou, O Lord, have mercy upon us, miserable offend- 
ers. Spare thou those, O God, who confess their 
faults. Restore thou those who are penitent according 
to thy promises declared unto mankind in Christ Jesus 
our Lord. 

164 



VOICE QUALITY-TIIE OROTUND. 



Section III. — The Orotund. 

After a fair practice in the foregoing exercises for 
pure tone, etc., to which the pupil must occasion- 
ally return, it is next most desirable to pursue 
its larger development, application and manage- 
ment in the orotund. The praxis and instruction 
here is perhaps the most important duty of the 
teacher, certainly the most requisite study of the 
pupil. No greater mistake exists than the neg- 
lect of these preliminaries, and the teacher who 
simply proposes the recitation of pieces without 
due cultivation of the voice, should be warily 
dealt with. It is a very easy matter to make 
pupils believe they have fine voices and need not 
waste time in rudimentary exercises. In truth, 
even very intelligent and earnest pupils are gen- 
erally pleased to hear such and escape practice, so 
strong is the desire to plunge into the preparation 
of some "piece" for immediate exhibition; just 
as the beginner in a modern language is tickled 
with a few little phrases which he parades before 
friends to insinuate his progress or familiarity 
with the tongue. 

It is sufficiently known that the voice, like 
every other instrument, requires training and 

165 



PHILOSOPHIC ELOCUTION. 



being kept in tune ; so that our first duty in its 
management is to inform ourselves of the proper 
means by which this is effected. Therefore, 
throughout the various sections which deal with 
voice, it is proposed to set forth gradually and 
fully, by exercise and example, the developing 
and establishing process. 

The Orotund, which is only the more finished 
and enlarged pure tone, may be considered the 
true voice, of which all other qualities are modi- 
fications effected by the varied action of the vocal 
organism, producing changes which under their 
several names are employed as symbols of thought, 
representing or interpreting the varied emotions 
and passions of our nature. 

To produce this quality in its perfection, de- 
mands the most thorough action of the vocal 
mechanism, the fullest pressure of the muscles, 
giving increased energy to the lungs, and forcing 
or propelling through the glottis into the fully 
expanded resonance chambers of the voice the 
largest and most compact column of air. Thus 
the vocal cords are made to give full length and 
broad vibrations. The harmonics blend more 
softly and sweetly in the full-arched cavity of the 

166 



VOICE QUALITY— THE OROTUND. 



mouth, moulding and rounding all into those 
strong sonorous tones that shake the space around 
us when in form of words we send them forth. 

Being a combination of pure tone, volume and 
force, it is the true symbol of dignified and kin- 
dred emotions ; the voice in which the mind is 
wont to issue messages of grandeur, sublimity and 
conscious power, the tone of eloquence, high 
thought and fervor. In its impressive solemnity 
and force it is the medium of prayer and praise, 
of pulpit reading, and of pulpit speaking. It is, 
in short, the Voice of Oratory and the grandest 
quality of spoken sound. 

It is then the more satisfactory to know that 
it is purely the result, in nearly all cases, if not 
in all, of cultivation and effort. It is a too com- 
mon opinion and mistake, that a good voice is, 
like beauty, a gift, endowment or charm, only 
here and there bestowed. This is not admitted 
in training schools of music, which insist that 
every voice can and must utter pure tones under 
proper cultivation, and it is found universally 
true. So with the orotund; it is within the 
reach of all with whom no physical disability 
exists; and is, when acquired, not only less 

16? 



PHILOSOPHIC ELOCUTION. 



fatiguing and free from danger to the organs than 
any, but is the most invigorating and easily sus- 
tained of any vocal action that our speech requires. 
Care should be taken for its proper acquirement 
under good instruction, and when acquired that 
it be not tortured into abuse, assuming forms of 
rant and bombast. This is too often the case, 
and close attention of the teacher is required to 
guard against it while practising. 

Note. — In view of remarks occasionally heard about 
ladies voices, it is here suggested before entering on 
these further exercises that lady pupils should consult 
Note, page 48; also VI, pages 21-22. 

Bearing now in mind that no mere theoretical 
knowledge will serve the reader or the speaker's 
purpose; that correct and properly directed ex- 
ercises can alone strengthen and purify the voice 
tones, and that the exercises must be fairly 
practised and adhered to for reasonable time, 
we may accept the following instructions as 
preliminary thereto : 

Keep the larynx well expanded and pressed back. 

the pharynx depressed or lowered. 

the tongue flat and well down at root. 

the uvula raised as seen in plate. 

the mouth fairly open and lips well rounded. 

the breath compactly directed against palate. 

168 



VOICE QUALITY— THE OROTUND. 



Let there be an energetic action of abdominal, 
and sometimes, in strong tones, of dorsal muscles, 
propelling a full column of air from the lungs 
through the glottis and open mouth. 

This, it will be seen, differs little from the 
organic arrangement for pure tone except in the 
depression of the larynx and action of the dor- 
sal muscles to give depth and additional power. 
There are sounds produced by certain favora- 
ble elemental combinations which, to establish 
this orotund quality, more thoroughly and rapidly 
operate upon the parts involved. Of these the 
following exercises may be accepted as among 
the best. The student must give them faithful 
practice, and the result will be satisfactory. 

Attending to above instructions and taking 
position and directions as before, read the follow- 
ing in middle pitch of voice, breathing between 
each word and throwing stress of voice on diph- 
thong sounds — Exjmlsive form. 
Sound of H — as in heart, hall, hate, how, had. 
Note. — This is the simple aspirate of our language, and 
consists in a forceful expiration against the vocal cords. 
It is one of the best breathing exercises, because almost 
any single word beginning with this letter will exhaust 
the breath and compel new supply. Say hold and 
satisfy yourself. 

169 



PHILOSOPHIC ELOCUTION. 



Ex. — His high-ness holds high his haugh-ty head and exhib- 
its himself to the /«-larious horde who exha/-ed hedxt-y 
hor-xor in the hti-mid hall. The hard heart-ed hedge 
hog heed-less of his hav-oc of the house-wiie's ham hies 
home-wards hap-py to have his head, his hands and his 
heart whole. The har?n-\ess hztm-ming bird hur-tles 
through the hot-house and ex-horts his ex-haust-ed hire- 
ling to hold his hob-by horse till har-vest home. Hold, 
hold, thy heart-less har-pmg, hear'st thou not ^z> ^^r- 
ried hope-less hu-mi\-ity. Zfo/d' and hie thee &?/&* -wards. 

Sound of broad A, as in fall, haul, walk, warm. 

Ex. — The splendor foils on castle walls and calls for shawls 
appalled the cow-ard hearts of all. His vault-mg daugh- 
ter haul-ed the dau phin in the satice-p&n and thought 
the haugh-ty tf^-thor dined on nauseous sausages. 
The pal-try sauce-hox waltz-ed on Cau- casus, and the 
au-\>nrr\ pal-fry drew lau-rel filau-dits, al-heit the naugh- 
ty dwarf got the ^watf through the fau-cet and taught 
his /al-con to thwart the ;;^2£//^-ish ^w-key if caught in 
#z/-tumn. He crossed the jdr# ze/#-ter in a squall and 
</r<2Z£/-ing his /^/-chion in^/Z-ed the au-tocrsit who 
talk-ed of naught but haugh-tily defraud-ing the green 
sward of its &z/-dric ^zew-ing. 

Pupils must bear constantly in mind that 
the selections herein are voice-huilding exercises 
rather than "readings," and are chosen on 
account of their special aptness to the end in 
view. Take again the following, before used, 
but practise them in different form, — for exercises 
now on the expulsive orotund. 

170 



VOICE QUALITY— TEE OROTUND. 



Note. — Until practise has fully established the correct 
vocal action attend to the instructions above given, as 
to arrangement of organs. In this Ex. as now em- 
ployed, make the diphthong sounds strong and full — 
the vowels clear, and consonants distinct — first, fourth 
and fifth lines slow ; second and third lines rapid move- 
ment — high pitch. 

Ex. — Zfoz<i/-//tfw,-spirit,-whither-wander-you? — 

6wer-hill, tfver-dale,-thoro'-bush,-thoro'-brier, 
<9ver-park, ^ver-pale,-thoro'-flood,-thoro'-fire, 
/do wander-every where, — 
Swifter-than-the moones-sphere. — 

Make also frequent exercises of the following 
after the same manner ; but keeping mainly on 
the middle pitch, and descending occasionally a 
note on each repetition, with clear tone as low 
as it will carry. This will much improve the 
voice. 

Ex. — High-on-a-throne-of-roy-al- state, -which-far 
Out-shone- the-wealth-of-Or-mus-and-of-Ind ; 
Or-where-the-gor-geous-east,-with-rich-est-hand, 
Showers-on-her-kings,-bar-bar-ic-pearl-and-gold, 
Sa-tan-exalt-ed-sat. 

Ex. the nimble gunner 

With linstock now the devilish cannon touches, 
And down goes all before them. 

Note. — These vocal gymnastics produce astonishing power 
and flexibility of voice, making it strong, clear, liquid, 
musical and agreeable ; and they are as healthful as 
they are useful. 

171 



PHILOSOPHIC ELOCUTION. 



Now with full strong breathing read in round 
sonorous tones these lines of Henry V., Act 1, 
Scene 1. 

Orotund — Slow time, Effusive and Expul. — Middle 
pitch. 

King Hen — My learned lord, we pray you to proceed 
And justly and religiously unfold 
Why the law Salique, that they have in France, 
Or should, or should not, bar us in our claim ; 
And God forbid, my dear and faithful lord, 
That you should faihiofi, wrest, or bow your readi?ig, 
Or nicely charge your understanding soul 
With opening titles, miscreate, whose right 
Suits not in native colors, with the truth ; 
For God doth know, how many, now in health, 
Shall drop their blood, in approbation 
Of what your reverence shall incite us to. 
Therefore take heed, how you impawn our person, 
How you awake our sleeping sword of war : 
We charge you, in the name of God, take heed; 
For never two such kingdoms, did contend, 
Without much fall of blood ; whose guiltless drops 
Are, every one, a woe, a sore complaint 
'Gainst him whose wrong gives edge unto the swords 
That make such waste in brief mortality. 
Under this cojijuration, speak, my lord; 
And we will hear, note and believe in heart 
That what you speak is, in your conscience, wash'd 
As pure as sin with baptism. 

The above example is chiefly effusive orotund. 
Now in the same quality, but with expulsive 
action, read the following from the same scene ; 

172 



VOICE QUALITY— THE OROTUND. 



the words of Henry after dismissing in indigna- 
tion the French embassadors. 

High pitch — Quick movement. 

Exe, — This was a merry message. 

King Hen. — We hope to make the sender blush at it. 
Therefore, my lords, omit no happy hour 
That may give furtherance, to our expedition ; 
For we have now no thought in us but France, 
(Save those to God, that run before our business.) 
Therefore let our proportions for these wars 
Be soon collected and all things thought upon 
That may, with reasonable swiftness, add 
More feathers to our wings ; for, God before, 
We'll chide this Dauphin, at his pal 'her 's door. 

Occasional practice on Bryant's Thanatopsis 
will much improve the monotone and orotund. 
The present extract is given as an attempt to 
correct the constant abuse of its punctuation 
which so confuses the thought, and from which 
it is rarely secure. In truth few short poems of 
our language are more hackneyed, misprinted 
and grammatically maltreated than we generally 
find this sublime production. 

Ex. — So live, that — when thy summons comes to join 
The innumerable Caravan that moves 
To the pale realms of shade, where, each shall take 
His chamber in the silent halls of death — 
Thou go, not like the quarry slave, at night, 

173 



PHILOSOPHIC ELOCUTION. 



Scourged, to his dungeon ; but — sustained and soothed 
By an unfaltering trust— approach thy grave 
Like one, who wraps the drapery of his couch 
Ground him, and — lies down to pleasant dreams. 

The whole field of oratorical literature fur- 
nishes practice for the effusive and expulsive, 
and occasional explosive orotund, of which, how- 
ever, the expulsive, with properly directed force 
and judicious use of the rad. y dim. and van. stress, 
is the chief element. The following example 
will be sufficient for the present : 

Pitt's Reply to Sir Robert Walpole. 

The atrocious crime of being a young man, which the 
honorable gentleman has, with such spirit and de'ceficy', 
charged upon me, I shall neither attempt to palliate nor 
deny' 1 "; but content myself with hoping, that I may be 
one iii those whose follies cease with their youth' , and not 
of that number, who are ignorant in spite of experience. . 
Whether youth s can be imputed to a man as a reproach, 
I will not assume the province of determining; but 
surely age may become justly contemptible, if the oppor- 
tunities which it brings have passed away without im- 
provement', and vice appears to prevail', when the pas- 
sions have subsided^. The wretch, who, after having 
seen the consequences of a thousand errors, continues 
still to blunder, and whose age has only added obstinacy, 
to stupidity', is surely the object either of abhorrence or 
contempt, and deserves not that his gray hairs should 
secure him from insult. Much more is heXo be abhorred 
who, as he has advanced' — in age, has receded' — from 
174 



VOICE QUALITY—THE OROTUND. 



virtue^, and become more wicked' — with less temptation ; 
who prostitutes himself for money which he can not en- 
joy' ^ and spends the remains of his life, in the ruin of 
his country \ 
But youth is not my only crime ; I am accused of act- 
ing a theatrical part, A theatrical part may either 
imply some peculiarity of gesture, or a dissimulatio?i of 
my real sentiments^, and an adoption of the opinions 
and language of another man. In the jirst sense, the 
charge is too trifling to be mentioned, that it may be 
despised. I' am at liberty, like every other v man to use 
my own language; and though, perhaps, I may have 
some ambition to please this gentleman, I shall not lay 
myself under any restraint, nor very solicitously copy 
his diction or his mien, however matured by age, or 
modeled by experience^. 

The next is a fine example of dramatic ora- 
tory. Henry V., act iv. ? scene iii. Where enter- 
ing the camp and overhearing remarks of the 
Duke of Westmoreland to the soldiers, which 
he fears may dispirit them, the King kindly and 
cheerfully remonstrates. 

Fullest Expul. Orotund, Rad. Stress, High Pitch, 
Time Moderate and Quick. 

West. O that we now had here 

But one ten thousand of those men in England 

That do no work to-day ! 
King Hen. . >What's he that wishes so ? 

My cousin Westmoreland ? No, my fair cousin : 

If we are mark'd, to die, we are enow 

To do our country loss ; and if to live, 
175 



PHILOSOPHIC ELOCUTION. 



The fewer men — the greater share of honor. 

God's will ! I pray thee, wish not one man more. 

By Jove, I am not covetous for gold, 

Nor care I who doth feed upon my cost; 

It yearns me not, if men my garments wear; 

Such outward things dwell not in my desires : 

But, if it be a sin to covet honor, 

I am the most offending soul alive. 

No, faith, my coz, wish not a man from England : 

God's peace ! I would not lose so great an honour 

As one man more, methinks, would share from me 

For the best hope I have. O, do not wish one more! 

Rather proclaim it, Westmoreland, through my host, 

That he, who hath, no stomach to this fight, 

Let him depart ; his passport shall be made 

And crowns for convoy, put into his purse. 

We would not die, in that man's company 

That fears his fellowship to die with us. 

This day is called the feast of Crispian : 

He that outlives this day, and comes safe home, 

Will stand a tip-toe, when this day is named, 

And rouse him at the name of Crispian. 

He that shall live this day, and see old age, 

Will, yearly, on the vigil, feast his neighbours, 

And say, " To-morrow is Saint Crispian." 

Then will he strip, his sleeve, and show, his scars, 

And say, " These wounds I had on Crispin's day." 

Old men forget ; yet all shall be forgot, 

And he'll remember with advantages 

What feats he did, that day; the?i, shall our names, 

Familiar in their mouths as household words, 

Harry, the king, Bedford and Exeter, 

Warwick and Talbot, Salisbury and Gloucester, 

Be, in their flowing cups, freshly re?7iembet J d. 

This story, shall the good man, teach his son ; 

And Crispin Crispian shall ne'er go by, 



176 



VOICE QUALITY— THE OROTUND. 



From this day to the ending of the world, 

But we, in it, shall be remembered ; 

We few, we happy few, we band of brothers, 

For he to-day, that sheds his blood with me, 

Shall be my brother ; be he ne'er so vile, 

This day shall gentle his condition. 

And gentlemen, in England, now, a-bed, 

Shall think themselves, accursed, they were not here, 

And hold their manhoods cheap whiles any speaks 

That fought with us upon Saint Crispin's day. 

The expulsive voice action we have observed 
is properly the oratorical; but the explosive is 
also much used in mild and violent forms ; 
sometimes so modified as to be scarcely recog- 
nized as such. Its character, as sudden burst or 
explosion, would indicate association with inten- 
sity of passion under any order, whether of fear, 
dread, anger, hatred, love, grief, ecstasy, delight, 
etc., and whether in the language of the orator, 
the dramatist, the poet or the street. Hence we 
hear in the same form of utterance the cry of 
Fire ! Fire ! Fire ! and Othello's more subdued 
but quite as impassioned exclamation — 

Ecstasy of Love — Act III, Sc. 3. 

Excellent Wench ! Perdition Catch my Soul 
But I do love thee ! And, when I love thee not 
Chaos is come again. 

177 



PHILOSOPHIC ELOCUTION. 



Profound Grief or Dejection. — Scene 3. 

O, now, forever 
Farewell the tranquil mind ! farewell content ! 
Farewell the plumed troop, and the big wars, 
That make ambition virtue ! O, farewell ! 
Farewell the neighing steed, and the shrill trump, 
The spirit-stirring drum, the ear-piercing fife, 
The royal banner, and all quality, 
Pride, pomp and circumstance of glorious war! 
And, O you mortal engines, whose rude throats 
The immortal Jove's dread clamours counterfeit, 
Farewell ! Othello's occupation's gone ! 



Intense rage or anger, as developed in the progress of 
the scene. 

/ago. Is't possible, my lord ? 

Oth. Villain, be sure thou prove my love is false ; 

Be sure of it; give me the ocular proof; 

Or, by the worth of mine eternal soul, 

Thou hadst better have been born a dog 

Than answer my waked wrath ! 
/ago. Is't come to this ? 

Oth. Make me to see't; or, at the least, so prove it, 

That the probation bear no hinge nor loop 

To hang a doubt on ; or woe upon thy life ! 

/ago. My noble lord 

Oth. If thou dost slander her and torture me, 

Never pray more ; abandon all remorse ; 

On horror's head horrors accumulate ; 

Do deeds to make heaven weep, all earth amazed ; 

For nothing canst thou to damnation add 

Greater than that. 

178 



VOICE QUALITY— THE OROTUND. 



Intense passion, alarm, dread. — Macbeth, act v, sc. 5. 

Macb. Thou com'st to use thy tongue; thy story quickly. 
Mess. As I did stand my watch upon the hill, 

I look'd toward Birnam, and anon, methought, 

The wood began to move. 
Macb. Liar and slave ! 

Mess. Let me endure your wrath, if 't be not so : 

Within this three mile may you see it coming; 

I say, a moving grove. 
Macb. If thou speak'st false, 

Upon the next tree shalt thou hang, alive, 

Till famine cling thee: if thy speech be sooth, 

I care not if thou dost for me as much. 

Ring the alarum-bell ! Blow, wind ! come, wrack ! 
At least we'll die with harness on our back. 

Note. — For expulsive and effusive orotund no better 
general reading can be had than Milton, Isaiah, the 
Psalms, besides what good oratorical selections the 
student may prefer. Further space needs not therefore 
be consumed in special extracts beyond the following, 
which, for voice practice, stands among the very best. 

The subjoined interpretation of Tennyson's 
glorious dithyrambic, " Charge or the Light 
Brigade," differs widely from accepted " read- 
ings " of elocutionists. The present author 
regards the first stanza as the argument of the 
poem after the manner of the earlier standard 
poets, and which is simply meant to set out the 
facts as if thus paraphrased : "At a certain time 

179 



PHILOSOPHIC ELOCUTION. 



and place in the history of war occurred the 
following glorious incident.' ' 

The usual form of rendering the fifth and 
sixth lines of this stanza in the shouting voice, 
as a command, seems simply absurd. These 
must be properly understood as the words of 
Capt. Nolan, who brings from the staff to Lord 
Lucan an order to advance. Lucan, in surprise, 
asks " whither," and Nolan ; repeating the instruc- 
tions, points towards the guns. This order Lucan 
now delivers to Lord Cardigan, commanding " the 
Brigade,'' as instructions sent. These are received 
and misapprehended, and here the poet assumes 
" some one had blundered." 

Now, in the first line of the second stanza, the 
poem properly opens, the explosive orotund with 
thorough stress and high pitch is there employed, 
and thus, as command is first heard, "Forward!" 

Besides the additional reasons which might be 
adduced, any other assumption, than the above, is 
against the discipline of the soldier, who, prompt 
to command, awaits no second " bidding ;" and 
had this been order given both horse and rider 
would instantly have plunged into action. 

180 



VOICE QUALITY— THE OROTUND. 



Half a league ', half a league — 

Half a league onward, 
All in the valley of death 

Rode the six hundred. 
" Forward the Light Brigade, 
Charge for the guns," he said. 
Into the valley of death 
Rode the six hundred. 



" FORWARD the LIGHT BRIGADE ! ' 

Was there a man dismay 'd ? 
No ! though the soldier knew 

Some one had blunder' d : 
Theirs, not to make reply', 
Theirs, not to reason why', 
Theirs, but to do and die. 
Into the valley of death 

Rode the six hundred. 



Cannon to right of them, 
Cannon to left of them, 
Cannon in front of them, 

Volleyed and thunder' d ; 
Storm'd at with shot and shell, 
Boldly they rode and well, 
Into the jaws of death, 
Into the mouth of hell 

Rode the six hundred. 
181 



PHILOSOPHIC! ELOCUTION. 



Flashed all their sabres bare, 
Flash'd as they turned in air, 
Sab'ring the gunners there, 
Charging an army, while 

All the world wonder* d : 
Plunged in the battery -smoke, 
Right through the line they broke; 
Cossack and Russian 
Reeled from the sabre-stroke 

Shattered and sunder 1 d, 
Then — they rode back, but — not 

Not the six hundred. 



Cannon to right of them, 
Cannon to left of them, 
Cannon behind them 

Volley'd and thunder'd ; 
Storm'd at with shot and shell, 
While horse and hero fell, 
They that had fought so well 
Came, through the jaws of death, 
Back from the mouth of hell, 
All that was left of them ; 

Left — of six hundred. 

VI. 

When — can their glory fade ? 

O THE WILD CHARGE THEY MADE ! 

All the world wonder'd. 
Honor the charge they made, 
Honor the Light Brigade, 

Noble six hundred ! 
182 



GUTTURAL TONES. 



Section IV. — Guttural Tones. 

Words as signs of ideas and mental action 
would be very ineffective if limited to one tone 
or quality of voice, not supplemented by inflec- 
tions, modulation, force, etc., to give character, 
form and shading to expression. Therefore, the 
various qualities of voice, the pure and impure, 
of which the latter, conveying the unpleasant, 
the distasteful, disapproved and negative or im- 
pure forms of thought, are as necessary as the 
former in their office to convey the pleasant, 
pure or positive condition of the mind. 

The guttural, although an impure tone and 
quality, is much used in speech. It is, when 
strong, cognate to the nasal tone, of a harsh, 
snarling, cynical order, and somewhat resembles 
the growling of the lower animals or the string 
vibration of the orchestral double bass. 

The mind of a strong, passionate nature, influ- 
enced by aversion, deep displeasure, extreme 
impatience, anger, disgust, contempt, etc., throws 
upon the voice impurity of thought that changes 
the quality of expression by such modification of 
the orotund as destroys its purity and smoothness. 

183 



PHILOSOPHIC ELOCUTION. 



The change is effected in the throat (whence 
its name) by such contraction of the larynx and 
relaxation of the vocal cords as interfere with 
the due passage of the column of air, which the 
energy of passion is strongly propelling against 
a partially closed glottis. The tongue is raised 
at the root, the uvula or veil of the palate par- 
tially dropped, and both further interfere with 
the air in its action on the vocal bands. Thus a 
sluggish, rumbling and discordant vibration is 
produced, which, falling in voice expression on 
emphatic words^ especially such as contain letters 
c, (hard) I, r, n, d, t, expressly fit it to the 
interpretation of all forms of the fierce savage, 
inimical, demoniacal or brutal. 

To exercise and cultivate this quality, let the 
mind assume unpleasant condition which will aid 
in the arrangement of the organs as above de- 
scribed. Then as the tone is cynical, take this 
single word, its cognate thought, cur, and prac- 
tise with a harsh smothered voice — cur-r-r-r! 
cur-rr-r ! — cur-r-r-r ! Then with a snarl in the 
voice apply it to the following example, which 
use also as an exercise. 

184 



GUTTURAL TONES. 



Let this sign, small and- larger CAPITALS, 
represent the guttural. 

Ex. Cor. — You common cry of CURS, whose breath I 

HATE 

As reek o' the rotten fens ; whose loves I prize 
As the dead carcasses of unburied men 
That do CORRUPT my AIR : I banish you. 

— Coriolanus, Act 3, Sc. 3. 

Note. — For this vibration of the vocal cords the above 
exercises are as good as a hundred ; and by practising 
thereon with a dog-like snarl in the tone there will soon 
be little difficulty. The chief desideratum is the prac- 
tical application to speech and reading. Keeping in 
mind the character of the thought which it interprets, 
let the pupils attempt the following — striking the gut- 
tural more or less strongly on words marked in small 
and larger capitals. 

Ex. — Irony. Henry V, Act I, Sc. 2. 

The King to French embassadors on discovering the in- 
sult offered in presentation of tennis balls. Curbing his 
temper. Dignified, Expulsive, Guttural, Orotund. 

K. Hen. We are glad the Dauphin is so pleasant with us ; 
His present and your pains we thank you for : 
When we have match' 'd our rackets to these balls, 
We will, in France, by God's grace, play a set 
Shall strike his father's crown into the hazard. 
Tell him he hath made a match with such a wrangler 
That all the courts of France will be disturb'd 
With CHACES. 

Ex.— Sarcasm. Henry V, Act III, Sc. 6. 

The King's reply to French herald who comes propos- 
185 



PHILOSOPHIC ELOCUTION. 



ing ransom. Chiefly expulsive, Orotund — with Gut- 
tural, on words in capitals. 

K. Hen. What is thy name ? I know thy quality. 

Mont. Montjoy. 

K. Hen. Thou dost thy office-fairly. Turn thee back, 
And tell thy king I do not seek him now; 
But could be willing to ?narch on to Calais 
Without impeachment : for r to say the sooth, — 
Though 'tis no wisdom to confess so much 
Unto an enemy of craft and vantage, — 
My people are-with. sickness-much enfeebled, 
My numbers lessened, -and those few I have 
Almost no better than so many — French ; — 
Who, when they were in health, I tell thee, herald, 
I thought upon one pair of English legs 
Did march three Frenchmen. Yet, forgive me, God, 
That I do brag thus! This your air of France 
Hath blown that vice in me :-I must repent. 
Go, therefore, tell thy master here I am ; 
My ransom is this frail and worthless trunk, 
My army but a weak and sickly guard; 
Yet,- God before, tell him we will come on, 
Though France himself and such another neighbor 
Stand in our way. There's for thy labour, Montjoy. 
Go, bid thy master well advise himself; 
If we may pass, we will; if we be hinder'd, 
We shall your tawny ground with your red blood 
Discolor: and so, Montjoy, fare you well. 
The sum of all our answer is but this : 
We would not seek a battle, as we are ; 
Nor,-as we are, we say we will not shun it : 

So TELL YOUR MASTER. 

Let the reader note the necessary and natural 
change from pure tone to guttural that takes 

186 



GUTTURAL TONES. 



place in the true interpretation of the thought in 
its transit from the first to the second stanza as 
underwritten from Scotts' Marmion. Canto iii.x. 

Where shall the lover rest, whom the fates sever 

From his true maiden's breast, parted forever ? 

Where, through groves deep and high, sounds the far billow, 

Where early violets die, under the willow ; 

There, through the summer day, cool streams are laving, 

There, while the tempests sway, scarce are boughs waving, 

There thy rest shalt thou take, parted forever ; 

Never again to wake ! never, O never ! 

Where, shall the traitor rest, he, the deceiver, 
Who could win woman's breast, ruin and leave her ? 
In the lost battle, borne down by the flying, 
Where mingles war's rattle with groans os the 

dying; 
Her wing shall the eagle flap, o'er the false-hearted, 
His warm blood the wolf shall lap, ere life be parted, 
Shame and dishonor sit by his grave ever, 
Blessing shall hallow it, never, O never! 

In moving through these passages of thought, 
it may be seen how useful are the impure tones — 
dropping tinge, and tint, and color, shadowed, 
cloudy, sombre, dark — creating* thus the clare- 
obscure of voice, and making it truly exegetical 
of passions and emotions. 

When used artificially we must be careful and 
not continue it on phrases or sentences to which 

187 



PHILOSOPHIC ELOCUTION. 



it does not apply, thereby misinterpreting that 
portion ; but lift it over purer thought and let it 
fall again upon its cognate or relational sequence 
as in the following : 



Ex. — Orotund, guttural, aspirated guttural, 

TREMOR. 

Glenvarloch gazed, and on his brow 

Remorse with pain and grief seemed blending-; 
A purse of gold, he flung beside 

The mother, o'er her dead child bending. 
Oh ! wildly laughed that woman then, 

Glenvarloch ! would ye dare to measure 
The holy life that God has given 

Against a heap of golden treasure ? 

u Ye spurned my prayer, for we were poor; 

But know, proud man, that God hath power 
To smite the king on Scotland's throne, 

The chieftain in his fortress tower. 
Frown on ! frown on ! I fear ye not; 

We've done the last of chieftain's bidding, 
And cold he lies, for whose young sake 

I used to bear your wrathful chiding. 

" Will gold bring back his cheerful voice, 

That used to win my heart from sorrow ? 
Will silver warm the frozen blood, 

Or make my heart less lone to-morrow ? 
Go back and seek your mountain home, 

And when ye kiss your fair-haired daughter, 
Remember him who died to-night 

Beneath the waves of Mona's water." 

188 



GTJTTUBAL TONES. 



Ex. Richard III, Act i, Sc. iii. 

Glou. The curse my noble father laid on thee, 
When thou didst crown his warlike brows with paper 
And with thy scorns drew'st rivers fro??i his eyes, 
And then, to dry them, gavest the duke a clout 
Steep d in the faultless blood of pretty Rutland, — 
His curses, then from bitterness of soul 
Denounced against thee, are all fall'n upon thee ; 
And God, not we, hath plagued thy bloody deed. 

The succeeding examples will sufficiently illus- 
trate the intensity of the Guttural quality. 

Merchant of Venice — Act i, Sc. iii. 

Shy. I will be assured I may; and, that I may be assured, 
I will bethink me. May I speak with Antonio ? 

Bass. If it please you to dine with us. 

Shy. Yes, to smell pork ; to eat of the habitation which 
your prophet the Nazarite conjured the devil into. I 
will buy with you, sell with you, talk with you, walk with 
you, and so following, but I will not eat with you, drink 
with you, nor pray with you. What news on the 
Rialto ? Who is he comes here ? 

Bass. This is Signior Antonio. 

Shy. [Aside\ How like a fawning publican he looks ! 
I hate him for he is a Christian, 
But more for that in low simplicity 
He lends out money gratis and brings down 
The rate of usance here with us in Venice. 
If I can catch him once upon the hip, 
I will feed fat the ancient grudge I bear him. 
He hates our sacred nation, and he rails, 
Even there, where merchants most do congregate, 
On me, my bargains and my well- won thrift, 
Which he calls interest. Cursed be my tribe 
If I forgive him ! 

189 



PHILOSOPHIC ELOCUTION. 



Ex. Richard II, act i, scene i. 

Nor. Then, Bolingbroke, as low as to thy heart, 
Through the false passage of thy throat, thou liest ! 
Three parts of that receipt I had for Calais, 
Disbursed I duly to his highness' soldiers ; 
The other part reserved I by consent ; 
For that my sovereign liege was in my debt, 
Upon remainder of a dear account, 
Since last I went to France to fetch his queen. 

Now swallow down that lie. For Gloster's death, 

I slew him not; but to my own disgrace, 

Neglected my sworn duty in that case. 

For you, my noble lord of Lancaster, 

The honorable father to my foe, 

Once did I lay in ambush for your life, 

A trespass that doth vex my grieved soul ; 

But, ere I last received the sacrament, 

I did confess it, and exactly begg'd 

Your grace's pardon, and, I hope, I had it. 

This is my fault : As for the rest appeal'd, 

It issues from the rancour of a villain, 

A recreant and most degenerate traitor ; 

Which in myself I boldly will defend ; 

And interchangeably hurl down my gage 

Upon this overweening traitor's foot, 

To prove myself a loyal gentleman 

Even in the best blood chamber'd in his bosom. 

Section V. — Pectoral Quality. 

This condition or character of voice differs in 
its formation, or physiology, so little from the gut- 
tural as to make it questionable whether it should 
be considered a separate, or distinct, quality. As 

190 



PECTORAL QUALITY. 



with the monotone and orotund, they touch so 
closely sometimes as to be hardly distinguishable. 
It is formed as the guttural in the throat, and by 
the same action of the cords and other organs. 
It differs mainly therefrom by its resonance 
deeper down in the bronchial tubes or upper por- 
tion of the chest — thus deepening the voice to a 
growl rather than a snarl, and giving a more 
imbruted tone to vicious expression as sometimes 
heard from low, vulgar, besotted, animal natures, 
or others representing such. 

Thus it would interpret also repulsive horror, 
diabolical revenge, or threatening, and such pas- 
sions, in low growling expression as the aspirate 
effects in hissing form 

Ex. — Slow time — Pectoral and Guttural — low pitch. 

Beware, young raving thing ! In time beware! 

Nor utter what I cannot, must not bear, 

Even from thy lips. Go, try thy lute, thy voice, 

The boy must feel their magic. I rejoice 

To see those fires, no matter whence they rise, 

Once more illumine, my fair Priestess' eyes ; 

And should the youth, whom soon those eyes shall warm, 

Indeed resemble, thy dead lover's form, 

So much the happier, wilt thou find thy doom, 

As one warm lover, full of life and bloom, 

Excels ten thousand cold ones in the tomb. 

191 



PHILOSOPHIC ELOCUTION. 



Nay, nay, no frowning, sweet ! Those eyes were made 
For love, not anger. I must be obeyed. 

It is always properly associated with low pitch. 
In fact, it exists as a defective habit in some 
voices, arising from constant low tones, con- 
sequent upon lax or lazy movement of abdominal 
muscles, and is rarely, except through indolence 
of the speaker, connected with pure thoughts. 

Note — It is exemplified again in these lines of King 
John, {Act Hi, scene 3,) suggesting to Hubert the mur- 
der of young Arthur. The words in the first speech 
are characterized by aspirated orotund in tones just 
above the whisper. Those in the second speech are 
succeeded by deep pectoral, beginning, " If the mid- 
night bell." The whole somewhat broken and dis- 
jointed, as men speak when plotting and " feeling their 
way" to another's acquiescence. 

Ex, — K.John. Come hither, Hubert. O my gentle Hubert, 
We owe thee much ! Within this wall of flesh 
There is a soul, counts thee, — her creditor, 
And with advantage means to pay thy love : 
And, my good friend, thy voluntary oath 
Lives — in this bosom, dearly cherished. 
Give me thy hand. I had a thing to say 
But — I will fit it, with some better time — 
By heaven, Hubert, I am almost ashamed 
To say what good respect I have of thee. 

Hubert. I am much bounden to your majesty. 

K. John. Good friend, thou hast no cause to say so yet: 
192 



PECTORAL QUALITY. 



But, thou shalt have; and creep time ne'er so slow, 
Yet it shall come — for me to do thee good. 
I had a thing to say, but — let it go : 
The sun is in the heaven, and, the proud day, 
Attended with the pleasures of the world, 
Is all too wanton, and too full of gawds 
To give me audience. If — the midnight bell 
Did, with his iron tongue and brazen mouth, 
Sound on into the drowsy race ot night ; 
If — this same were a churchyard where we stand, 
And thou possessed, with a thousand wrongs, 
Or — if that surly spirit, melancholy, 
Had baked thy blood, and made it heavy-thick, 
Which else runs tickling up and down the veins, 
Making that idiot, laughter, keep men's eyes 
And strain their cheeks to idle merriment, 
A passion hateful to my purposes; 
Or — if that thou couldst see me without eyes, 
Hear me without thine ears, and make reply 
Without a tongue, using conceit alone, 
Without eyes, ears and harmful sound of words; 
Then — in despite of brooded watchful day — 
I would, into thy bosom, pour my thoughts : 
But, ah, I will not ! yet I love thee well; 
And, by my troth, I think thou lovest me well. 
Hubert. . So well, that what you bid me undertake, 
Though that my death were adjunct to my act, 
By heaven, I would do it. 

Ex. — Then, methought, the air grew denser, perfumed from 
an unseen censer 
Swung by seraphim, whose footfalls tinkled on the tufted 

floor. 
" Wretch ! " I cried, " thy God hath lent thee — by these 

angels He hath sent thee 
Respite — respite and ?iepenthe from thy memories of Lenore / 
193 



PHILOSOPHIC ELOCUTION. 



Quaff oh quaff this kind nepenthe, and forgt this lost 
Lenore / 

Quoth the Raven : " NEVERMORE." 

Ex. The Dream of Darkness. — Byron. 

I had a dream, which was not all a dream, — 
The bright sun was extinguished ; and the stars 
Did wander darkling in the eternal space, 
Rayless and pathless; and the icy earth 
Swung blmd and blackening in the moonless air. 



Section VI. — The Aspirate. 

The most malignant as well as the most gen- 
erous passions of our nature require occasional 
expression, hence the aspirate which in general 
cases we would seek to avoid. It is an impure 
quality, akin to the guttural and whisper, coming 
as it were between them, and next in attenuated 
quality to the latter. It means properly "sound 
emitted in rough breathings' ' or hissings, and is 
necessary as expressive of violent passion. It 
then becomes comparative excellence in the in- 
terpretation of hate, aversion, fear, anger, frenzy, 
horror and the like passions. Where these rage 
intensely the aspirate added to the guttural, still 
further corrupting and vitiating the orotund or 
fundamental voice, gives thereto that vicious, 

194 



THE ASPIRATE. 



fiendish character expressive of dire revenge and 
destructiveness, which is otherwise inexpressible. 

Note — This quality of voice may be created as follows : 
Raise the tongue at the root, high towards the palate, 
obstructing as much as possible the passage ; contract 
and close the glottis still more than in guttural tones ; 
make strong effort to obstruct the egress of air, while 
with strongest pressure of abdominal dorsal and pectoral 
muscles it is forced out through the closed glottis and 
obstructed passage. Thus, while uttering the words, 
there will be an escape of air which is not converted 
into speech, but, driven out with utmost force, accom- 
panies it with harsh and hissi?ig sound. This is the 
aspirate as used in the interpretation of the malignant 
passions. 

From this conflict it will be palpable to the 
hearer as well as speaker that it is very severe 
on the voice and vocal mechanism; and all who 
use it constantly soon disqualify themselves for 
pure tone qualities. This is noticeable in all 
actors who give themselves mainly to the im- 
personation of aged and other characters largely 
employing this quality, as Lear, Richelieu, Shy- 
lock, etc. 

Note. — The whisper is the basis or a form of the aspir- 
ate, and gives best preliminary practice under proper 
selections both for the cultivation of this quality, and 
for strengthening the voice. The simple reason is that 
to maintain a lengthened, audible whisper, requires 
195 



PHILOSOPHIC ELOCUTION. 



more continuous muscular strength and force of breath 
than any other vocal effort, and must be pursued with 
discretion, not too often, or too much. 

Ex. — Practice, in strong whisper, short exercises contain- 
ing aspirate — h, — 

He /zfard /terrible /fowls, halloo'mg, /z<flp, help, helpl 
What, ho, there! halloo, halloo\ a thousand hands, 
ho\o\ hard and heavy over-/z<?ad, and hearts have hoped 
'gainst hope for home. 

Ex. — The following mark its subdued malignant form in 

whisper tones. 
Macb. I have do?ie the deed. Didst thou not hear a noise ? 
Lady M. I heard the owl scream and the crickets cry. 

Did not you speak ? 
Macb. When ? 

Lady M. Now. 

Macb. As I descended ? 

Lady M. Ay. 
Macb. Hark! 

Who lies i 1 the second chamber ? 
Lady M. Donalbain. 

Macb. This is a sorry sight. [Looking on his hands. 

There's one did laugh iris sleep, and o?ie cried u Murder /" 
That they did wake each other : I stood and heard them : 
But they did say their prayers, and addres'd them 
Again to sleep. 

King John, act iii, sc. hi. 

Ex, — K. John. Good Hubert ! Hubert ! Hubert / throw 
thine eye 
On yon young boy. I '11 tell thee what, my friend, 
He is a very serpent in my way; 
And wheresoever this foot of mine doth t?'ead, 
He lies before me. Dost thou understand me ? 
Thou art his keeper. 

196 



THE ASPIRATE. 



Hubert. And I will keep him so, 

That he shall not offend your Majesty. 
K. John. Death. 
Hub. My lord ? 
K. John. A grave. 

The aspirate is not in all cases necessarily 
malignant. It is always so when joined to the 
guttural or pectoral ; but it may in milder form 
be an accompaniment of pure tone or orotund as 
expressive of intensity in joy, sorroio, grief, fear, 
etc., after the manner of the tremor. These, 
however, are the nicer distinctions which we now 
postpone, giving but few illustrative examples, 
until in our consideration of voice tones as sym- 
bols of the passions, etc., we shall have better 
opportunity to deal therewith. 

They are here, except as examples for exer- 
cises, beyond the present reach of pupils. 

Ex. Sudden Fear — Lalla Rookh. 

Aspirated pure tone and Orotund. Expul. rad. stress. 
Impassioned Force — Tremor. 

u Oh not for worlds? She cried. " Great God 7 to whom 
I once knelt innocent, is this my doom 
Are all my dreams, my hopes of heavenly bliss 
My purity, my pride, then come to this ? — 
To live the wanton of z. fiend. To be, 
The pander of his, guilt. O infamy. 
And sunk myself as low as hell can steep 
197 



PHILOSOPHIC ELOCUTION. 



In its hot flood, drag others down as deep. 

Others — ha I — yes ! — that youth who came to-day — 

Not him I loved — not him— O do but say, 

But swear to me, this moment, 'tis not he, 

And I will serve — dark fiend — will worship even thee" 

Ex. Horror and Awe. 

Macbeth at sight of Banquo's ghost at the feast. Mac- 
beth, act hi, sc. v. Explosive and Expul Aspirated 
Orotund. Van. and Rad. stress. 

Macb. Avaimt! and quit my sight! let the earth hide thee ! 
Thy bones are marrowless, thy blood is cold) 
Thou hast no speculation in those eyes 
Which thou dost glare with ! 

Lady M. Think of this, good peers, 

But as a thing of custom : 'tis no other; 
Only it spoils the pleasure of the time. 

Macb. What man dare, I dare: [To the ghost. 

Approach thou like the rugged Russian bear, 
The arm'd rhinoceros, or the Hyrcan tiger ; 
Take any shape but that, and my firm nerves 
Shall never tremble: or be alive again, 
And dare me to the desert with thy sword ; 
If trembling I inhibit, then, protest me 
The baby of a girl. Hence, horrible shadow! 
Unreal mockery, hence ! [Ghost vanishes. 

Why, so : being gone, 
I am a man again. Pray you, sit still. 

Lady M. You have displaced the mirth, broke the good 
meeting, 
With most admired disorder. 

Then in dread — with effusion and expul., pure tone, con- 
templating Lady Macbeth's indifference. 

Macb. Can such things be, 

And overcome us like a summer's cloud, 
198 



THE ASPIRATE. 



Without our special wonder? You make me strange 

Even to the disposition which I owe, 

When now I think you can behold such sights, 

And keep the natural ruby of your cheeks, 

When mine is blanched with fear. 

Except in the whisper, which is the simple 
aspirate, it is never used alone — always com- 
bining with some other quality to which it gives 
coloring shade, intensity, etc. It is most fre- 
quently associated with guttural out of which it 
generally rises. A fine example of this tendency 
and growth is exhibited in Act 1, Scene 1, Lear, 
where the increasing displeasure of the King 
against Cordelia alternates for a time between 
these two qualities until passion, intensified, de- 
termines the domiuance of the latter and culmi- 
nates in its extreme use expressive of insane rage 
against the unoffending Kent. 

Most impassioned force, aspirated guttural, intense aspirate. 

Ex. — Lear. Kent, on thy life, no more. 

Kent. My life I never held but as a pawn 

To wage against thy enemies ; nor fear to lose it, 

Thy safety being the motive. 
Lear. Out of my sight ! 

Kent. See better, Lear; and let me still remain 

The true blank of thine eye. 
Lear. Now, by Apollo, — 
199 



PHILOSOPHIC ELOCUTION. 



Kent. Now, by Apollo, king, 

Thou swear'st thy gods in vain. 

Lear. O, VASSAL! MISCREANT! 

[Laying his hand on his sword. 

Kent. Do ; 

Kill thy physician, and the fee bestow 
Upon the foul disease. Revoke thy doom ; 
Or, whilst I can vent clamour from my throat, 
I'll tell thee thou dost evil 

Lear. HEAR ME, RECREANT! 

On thine ALLEGIANCE, hear me! 
Since thou hast sought to make us break our vow, 
Which we durst never yet, and with strain'd pride 
To come between our sentence and our power, 
Which nor our nature nor our place can bear, 
Our potency made good, take thy reward. 
Five days we do allot thee, for provision 
To shield thee from diseases of the world ; 
And on the sixth to turn thy hated back 
Upon our kingdom : if, on the tenth day following, 
Thy banish'd trunk be found in our dominions, 
The moment is thy death. Away! by JUPITER, 
This shall not be revoked. 

Thus ? too, it suddenly springs out of the Oro- 
tund partially tinged with guttural, and bursts 
in its deep intensity in the words of Richelieu 
defending his ward against lascivious purpose of 
King Louis, attempted through Baradas and 
other courtiers. 

Ex. — Bar. My Lord, the King cannot believe your 
Eminence 
So far forgets your duty, and his greatness. 
200 



THE ASPIRATE. 



As to resist his mandate ! Pray you, Madam, 

Obey the King — no cause for fear! 
Rich. She shall not stir ! 
Bar, You are not of her kindred — 

An orphan — 
Rich. And her country is her mother ! 
Bar. The country is the king ! 
Rich Ay, is it so ? 

Then, wakes the power, which, in the age of iron, 

Burst forth to curb the great, and raise the low. 

Ma?'k where she stands, around her form I draw 

The awful circle of our solemn church ! 

Set but a. foot within that holy ground, 

And on thy head — yea, though, it wore a crown — ■ 

I launch the CURSE OF ROME ! 
Bar. I dare not brave you ! 

I do but speak the orders of my king. 

The church, your rank, power, very word, my lord, 

Suffice you for resistance; blame yourself, 

If it cost you power ! 
Rich. That my stake. Ah / 

Dark gamester, what is thine ? Look to it well I 

Lose not a trick. By this same hour to-morrow 

Thou shalt have France, or I thy HEAD ! 
****** 
Bar. (aside.) His mind and life are breaking fast. 
Rich, (overhearing him.) Irreverent ribald ! 

If so, beware the falling ruin ! Hark ! 

I tell thee, scorner of these whitening hairs, 

When this snow ?nelteth there shall come a flood. 

Avaunt ! My name is RICHELIEU! 

So, in the depth of his loathsome avarice and 
hate, weighing his lost gold and treasure against 



201 



PHILOSOPHIC ELOCUTION. 



his daughter's life, Shylock exclaims with in- 
tensest aspirate. 

Ex. Shy. I would, my daughter were dead, at rny foot, 
and the jewels in HER EAR ! Would she were 
hearsed, at my foot, and the ducats in her COFFIN. 

The following, found as a reading in many school 
books, generally improperly and badly read, fur- 
nishes a good reading as well as useful exercise 
in guttural and aspirate qualities ; exemplified in 
the last stage of weakened age, but with strong 
will-power, fighting in extremis the approach of 
death and breaking down under the intensity of 
passion. 

Note. — The first verse, simply narrative, employs the 
unimpassioned Expul. Orotund. The second opens with 
the thought of opposition to the supposed intimation of 
his death, using rising slides and guttural tones slightly 
aspirated. The others, to seventh, alternate between 
orotund and aspirated orotund, expulsive and thorough 
stress, and from seventh to the end, occasional orotund 
and strong aspirate. 

THE BARON'S LAST BANQUET. 

O'er a low couch the setting sun had thrown its latest ray, 
Where, in his last strong agony, a dying warrior lay, — 
The stern old Baron Rudiger, whose frame had ne'er been be'nt 
By wasting pain, till time and toil its iron strength had spent. 

" They c07nea.r0u.nd me here and sdy my days of life are o'er, — 
That / shall mount my noble steed and lead my band no more ; 

202 



THE ASPIRATE. 



They come, and, to my beard, they dare to tell me now that /, 
Their ozvn liege lord and master born, that / — ha ! ha ! — must die. 

i: And what is death? I've dared him 6ft, before the Painim spear ; 
Think ye he's enter' d at my gate — has come to seek me here? 
Jv'e met him, faced him, scorn d him, when the fight was raging hot ; — 
I'll try his might, I'll brave his power ! — defy, and fear him not! 

" Ho ! sound the tocsin from my tower, and fire the cuVverin, 

Bid each retainer arm with speed, call every vassal in. 

Up with my banner on the wall, — the banquet board prepare, — 

Throw wide the portals of my hall, and bring my armor there ! " 

A hundred hands were busy then : the banquet forth was spread, 
And rung the heavy oaken floor with many a martial tread ; 
While from the rich, dark tracery, along the vaulted wall, 
Lights gleam'd on harness, plume and spear, o'er the proud old 
Gothic hall. 

Fast hurrying through the outer gate, the mail'd retainers pour'd, 
On through the portal's frowning arch, and thiong'd around the board ; 
While at its head, within his dark, carved, oaken chair of state, 
Arm'd cap-a-pie, stern Rudiger, with girded falchion, sate. 

" Fill every beaker up, my men !— pour forth the cheering wine ! 
There's life and strength in every drop, — thanksgiving TO THE vine! 
Are ye all there, my vassals true ?— mine eyes are waxing dim ; 
Fill round, my tried and fearless ones, each goblet to the brim ! 

" Ye're there, but yet I see you not ! — draw forth each trusty 

SWORD, 

And let me hear your faithful steel clash once around my board ! 

I hear it faintly : Louder yet ! What clogs my heavy breath? 

Up, all!— and shout for Rudiger, ' DEFIANCE UNTO DEATH !' " 

Bowl rang to bowl, steel clang'd to steel, and rose a deafening cry, 
That made the torches flare around, and shook the flags on high: 
"Ho! cravens! do ye FE4R him? SLAVES! TRAITORS! have 

ye f lown ? 
Ho! cowards, have ye left me to meet him here alone? 

"But I defy him!— LET HIM COME!" Down rang the massy 

cup, 
While from its sheath the ready blade came flashing half-way up ; 
And, with the black and heavy plumes scarce trembling on his head, 
There, in his dark, carved, oaken chair, old Rudiger sat — dead ! 

Albert G. Greene. 



PHILOSOPHIC ELOCUTION. 



In the foregoing chapters voice has been treated 
in its mechanical and constructive process with a 
view to its development and culture rather than 
as to its direct and refined application to subtle 
interpretation ; and thus we have seen that voice 
with its attributes, forms, properties, qualities, 
etc., may be considered the true and essential 
substructure of elocution proper. In subsequent 
chapters these will be discussed and exemplified 
in their psychologic, philosophic and finished ser- 
vice as the symbols and exponents of our pas- 
sions and emotions. 

Students will understand that herein lie the 
cultivation of the mind, the keen perception, 
mental acumen and lingual appreciation which 
time alone can accomplish ; for the text must be 
fully comprehended with the emotions and pas- 
sions involved ere voice can perfectly perform 
its office. To this end, however, it will be found 

that THE TRUE STUDY OF ELOCUTION IS THE MOST 
EFFECTIVE AID. 



Of the closing selections now added for 
practice it may be said that some are old. So 
is all our best poetry. But they will be found 



204 



SELECTION'S. 



quite new when properly read. Besides, they 
serve the illustrative purposes intended, and 
are also new in the fact that their correct inter- 
pretation is marked in the type. 

BATTLE OF FONTENOY. 

Thrice, at the huts of Fontenoy, the English column failed, 
And, twice, the lines of Saint Antoine, the Dutch in vain assailed; 
For, town and slope were filled, with fort and flanking battery, 
And well they swept the English ranks, and Dutch auxiliary. 
As vainly, through De Barri's wood, the British soldiers burst, 
The French artillery drove them back — diminished and dispersed. 
The bloody Duke of Cumberland beheld with anxious eye, 
And ordered up his last reserve, his latest chance to try. 
On Fontenoy, on Fontenoy, how fast his generals ride ! 
And, mustering come his chosen troops, like clouds at eventide. 

Six thousand English veterans in stately column tread, — 
Their cannon blaze in front and flank, — Loud Hay is at their head; 
Steady they step adown the slope — steady they climb the hill; 
Steady they load— steady they fire, moving right onward still 
Betwixt the wood and Fontenoy — as through a furnace blast — 
Through rampart, trench and palisade, and bullets showering fast; 
And, on the open plain above they rose and kept their course, 
With ready fire and grim resolve, that mocked at hostile force; 
Past Fontenoy, past Fontenoy — while thinner grow their ranks — 
They break, as broke the Zuyder Zee through Holland's ocean 
banks. 

More idly than the summer flies, French tirailleurs rush round; 
As stubble to the lava tide, French squadrons strew the ground ; 
Bombshell, and grape, and round shot tore — still on they marched 

and fired — 
Fast from each volley, grenadier and voltigeur retired. 
11 Push on my household cavalry," King Louis madly cried ; 
To death they rush, but rude their shock — not unavenged they died. 
On through the camp, the column trod — King Louis turns his rein — 
" Not yet, my liege," Saxe interposed, " the Irish troops remain;" 
And Fontenoy, famed Fontenoy, had been a Waterloo, 
Were not these exiles ready then,— fresh, vehement and true. 

205 



PHILOSOPHIC ELOCUTION. 



'•Lord Clare," he says, "you have your wish, there are your Saxon 

foes!" 
The Marshal almost smiled to see, so furiously he goes. 
How fierce the look these exiles wear, who're wont to be so gay, 
The treasured wrongs of fifty years are in their hearts to-day — 
The treaty broken, ere the ink wherewith 't was writ could dry, 
Their plundered 7iom.es, their ruined shrines, their women's parting cry, 
Their priesthood hunted down like wolves, their country over- 
thrown, — 
Each looks, as if revenge for all were staked on him alone. 
On Fontenoy, on Fontenoy, nor ever yet elsewhere, 
Pushed on to fight, a nobler band than those proud exiles were. 

O'Brien's voice is hoarse with joy, as, halting, he commands 

" Fix bay'nets — Charge ! " Like mountain storm, rush on these 

fiery bands. 
Thin is the English column now, and faint their volleys grow, 
Yet, must'ring all the strength they have, they make a gallant show. 
They dress their ranks upon the hill, to face that battle wind — 
Their bayonets the breakers' foam— like rocks, the men behind ! 
One volley crashes from their line, — when through the surging 

smoke, 
With empty guns, clutched in their hands, the headlong Irish broke. 
On Fontenoy, on Fontenoy, hark to that fierce huzza! 
'"Revenge! remember Limerick! DASH DOWN THE SAS- 

SENAGH!" 

Like lions leaping at a fold, when mad with hunger's pang, 
Right up against the English line the Irish exiles sprarjg; 
Bright was their steel — 'tis bloody now, their guns are filled with gore; 
Through shattered ranks, and severed files, and trampled flags, they 

tore; 
The English strove with desperate strength, paused — rallied— stag- 
gered— fled. 
The green hill-side is matted close with dying and with dead — 
Across the plain, and far away passed on that hideous wrack, 
While cavalier and fantassin dash in upon their track. 
On Fontenoy, on Fontenoy, like eagles in the sun, 
With bloody plumes the Irish stand — the field is fought and won! 

Thomas Davis. 



206 



SELECTIONS. 



GO WHERE GLORY WAITS THEE. 

Go, where glory waits thee ; 
But, while fame elates thee, 

O, still remember me. 
When, the praise thou meetest, 
To thine ear is sweetest, 

O, tlien, remember me. 
Other arms may press thee, 
Denver friends caress thee, 
All the joys that bless thee, 

Sweeter far may be ; 
But — when friends are nearest, 
And when joys are dearest, 

O, then, remember me ! 

When, at eve, thou rovest, 
By the star thou lovest, 

O, then remember me. 
Think, when home returning, 
Bright we've seen it burning^ 

O, then remember me. 
Oft, as summer closes, 
When thine eye reposes 
On its ling'rmg roses, 

Once, so lov'd by thee, 
Think of her —who wove them, 
Her who made thee love them — 

O, then remember me. 

When, around thee dying, 
Autumn leaves are lying, 

O, then remember me. 
And, at night, when gazing 
On the gay hearth blazing, 

O, still remember me. 
Then, should music, stealing 
All the soul of feeling, 
To thy heart appealing, 

Draw one tear from thee ; 
Then let memory bring thee 
Strains Jus'd to sing thee, — 

O, then remember me. 

Moore. 
207 



PHILOSOPHIC ELOCUTION. 



"CURFEW MUST NOT RING TO-NIGHT." 

England's sun was slowly setting o'er the hills so far away, 
Filling all the land with beauty, at the close of one sad day; 
And the last rays kiss'd the forehead of a man and maiden fair; 
He, with step so slow and weakened, thoughtful brow and snowy 

hair, — 
She, with sunny, floating ringlets, but with lips so cold and white, 
Struggling to keep back the murmur, "Curfew must not ring 
to-night." 

Wild her eyes and pale her features, stern and white her thought- 
ful brow, 
For within her heart's deep centre was recorded solemn vow: 
She had listened to the judges read, without a tear or sigh, 
"At the ringing of the Curfew — Basil Underwood must die." 
And her breath came fast and faster, and her eyes grew large and 

bright — 
One low murmur, scarcely spoken — "Curfew must not ring to-night." 

" Sexton," — Bessie's white lip3 faltered, pointing to the prison old, 
With its walls so dark and gloomy — walls so dark, and damp, 

and cold— 
" I've a lover in that prison, doomed this very night to die, 
At the ringing of the Curfew, and no earthly help is nigh ! 
Cromwell will not come till sunset ! " and her face grew strangely 

white, 
As she spoke in husky whispers, " Curfew must not ring to-night." 

" Bessie," calmly spoke the sexton— every word pierced her young 

heart 
Like a thousand gleaming arrows — like a deadly poisoned dart; 
" Long, long years, I've rung the Curfew from that gloomy shadowed 

tower; 
Every evening, just at sunset, it has tolled the twilight hour ; 
I have done my duty ever — tried to do it just and right, 
Noio I'm old, I will not miss it. Girl! the Curfew rings to-night!" 

She, with light step, bounded forward, sprang within the old church 

door, 
Left the old man coming slowly, paths he'd trod so oft before; 
Not one moment paused the maiden, but — with cheeks and brow 

aglow, — 

208 



SELECTIONS. 



Staggered up the gloomy tower, where the bell swung to and fro : 
Then, she climbed the slimy ladder, dark, without one ray of light, 
Upward still, her pale lips saying : " Curfew shall not ring to-night, 1 ' 

She has reached the topmost ladder, o'er her hangs the great dark 

bell, 
And the awful gloom beneath her, like the pathway down to hell ; 
See, the ponderous tongue is swinging* 'tis the hour ot Curfew now — 
And the sight has chilled her bosom, stopped her breath and 

paled her brow. 
Shall she Id it ring ? No, never ! Her eyes flash with sudden light, 
As she springs and grasps it firmly — " Curfew shall not ring- 
to-night ! " 



Out she swung — far out — the city seemed a tiny speck below; 
There — 'twixt heaven and earth suspended, as the bell swayed to 

and fro ; 
And the half-deaf Sexton ringing (years he had not heard the be;'), 
Thought that with the twilight Curfew rang young Basil's funeral 

knell ; 
Yet the maiden, clinging firmly, cheek and brow so pale and whi'e, 
Stilled her frightened heart's wild beating—" Curfew shall not 

RING TO-NIGHT." 



It was o'er — the bell ceased swaying, and the maiden stepped once 

more 
Firmly on the damp old ladder, where, for hundred years before 
Human foot had not been planted ; and what she this night had done 
Shall be heard long years hereafter. — As the rays of setting sun 
Light the sky with mellow beauty, aged sires with heads of whire 

Tell their children noic, why Curfew did not ring that one sad night. 

O'er the distant hills came Cromwell ; Bessie saw him, and her 

broio, 
Lately white with sickening terror, glows with sudden beauty now ; 
At his feet she told her story — showed her hands all bruised and 

torn; 
And her sweet- young face, so haggard with a look so sad and worn, 
Touched his heart with sudden pity— lit his eyes with misty light; 
" Go, your lover lives, brave maiden! Curfew SHALL not ring 

to-night ! " 



PHILOSOPHIC ELOCUTION. 



THE BURIAL OP MOSES. 

" And he buried him in a valley in the land of Moab, over against 
Beth-peor, but no man knoweth of his sepulchre to this day." — 
I)eut. xxxiv : 6. 

By Nebo's lonely mountain, 

On this side Jordan's wave, 
In a vale in the land of Moab, 

There lies a lonely grave ; 
But no man dug that sepulchre, 

And no man saw it e'er, 
For, the angels of god upturned the sod, 

And laid the dead man there. 

That was the grandest funeral 

That ever passed on earth ; 
But no man heard the tramping, 

Or saw the train go forth ; 
Noiselessly as the daylight 

Comes when the night is done, 
And the crimson streak on ocean's cheek 

Grows into the great sun, — 

Noiselessly as the spring time 

Her crown of verdure weaves, 
And all the trees on all the hills 

Open their thousand leaves, — 
So, without sound of music 

Or voice of them that wept, 
Silently down from the mountain crown 

The great procession swept. 

Perchance the bald old eagle, 

On gray Beth-peor's height, 
Out of his rocky eyrie, 

Looked on the wondrous sight; 
Perchance the lion, stalking, 

Still shuns the hallowed spot ; 
For beast and bird have seen and heard 

That which man knoweth not. 

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We know when warrior dieth 

His comrades in the war, 
With arms reversed and muffled drum, 

Follow the funeral car. 
They show the banners taken, 

They tell his battles won, 
And, after him, lead his masterless steed, 
While peals the minute gun. 

Amid the noblest, of the land 

Men lay the sage to rest, 
And give the hard an honored place, 

With costly marble dressed, 
In the great minster transept 

Where lights like glories fall, 
And the sweet choir sings, and the organ rings 

Along the emblazoned wall. 

This was the bravest warrior 

That ever buckled sword; 
This the most gifted poet 

That ever breathed a word; 
And never earth's philosopher 

Traced, with his golden pen, 
On the deathless page, truths Jialf so sage 

As he icrote down for men. 

And had he not high honor? — 

The hillside for his pall ; 
To lie in state while angels wait 

With stars for tapers tall ; 
And the dark rock pines, like tossing plumes, 

Over his bier to wave; 
And God's own hand in that lonely land, 

To lay him in the grave, — 

In that deep grave, without a name, 

Whence, his uncoffined clay 
Shall break again— O wondrous thought! — 

Before the judgment day, 
And stand, with glory wrapped around, 

On the hills he never trod, 
And, speak of the strife that won our life, 

With the incarnate Son of God. 

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O lonely tomb in Moab's land ! 

O dark Beth-peor's bill ! 
Speak to these curious hearts of ours, 

And teach them to be still. 

God hath his mysteries of grace, 

Ways that we cannot tell; 
He hides them deep, like tlie secret sleep 

Of Mm — he loved so well. 

Mrs. Alexander. 

THE GLOVE AND THE LIONS. 

King FRANCis-was a hearty king, and— loved a royal sport, 

And-one day-as his lions strove-^/ looking on the court : 

The nobles fill'd the benches round, the ladies by their side. 

And, 'mongst them, Count de Lorge, with one he hoped to make his 

bride : 
And truly 'twas a gallant thing, to see that crowning show, 
Valour and love, and a king above, and the royal beasts below. 

Ramped and roared the lions, with horrid laughing jaws ; 

They bit, they glared, gave blows like beams, a wind went with their 

paws ; 
With wallowing might and stifled roar they rolled one on another, 
Till-all the pit, with sand and mane, was in a thunderous smother; 
The bloody foam, above the bars, came whizzing through the air ; 
Said Francis then, " Faith ! gen'tlemen! we're better he s re than the'' re !" 

De Lorge's love derheard the king, a beauteous lively dame, 

With smiling lips, and sharp bright eyes, which always seem'd the 

same : 
She thoiight, " The Count, my lover, is as brave as brave can be; 
He su s rely would do d^perate thz'wgs to show his love of me ! 
King, ladies, lovers, all look on; the chance is wondrous fine ; 
Vll-drop my glove, to prove his love ; great glory shall be mine /" 

She dropp'd her glove to prove his love : then looked on him and 

smiled ; 
He bowed-and-in a moment — leaped, among the lions wild ; 
The leap was quick, return was quick — he soon regained \ivs> place; 
Then-threw the glove, but not with love, ri'ght in the la'dy's face ! 
"Bravo !" cried Francis, '"''rightly done !" and he rose from where he sat ; 
"No love? quoth he, "but vdnity sets love a task like that!" 

Leigh Hunt. 
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THE BATTLE OF IVRY. 

Now, glory to the Lord of Hosts ! from whom all glories are, 

And glory to our sovereign liege, King Henry of Navarre ! 

Now-let there be the merry sound of music and of dance, 

Through thy cornfields green, and sunny vales, O pleasant land of 

France ! 
And thou Rochelle, our own Rochelle, proud / city of the waters, 
Again, let rapture light the eyes, of aU thy mourning daughters ; 
As thou wert constant, in our ills, be joyous, in our joy ; 
For cold-and stiff-and still, are they, who wrought thy walls annoy. 
Hurrah ! Hurrah ! a single field hath turned the chance of war ! 
Hurrah ! Hurrah ! for Ivry, and Henry of Navarre. 

Oh! how our hearts were beating, when, at the dawn of day, 
We saw the army of the League, drawn out in long array; 
With all its priest-led citizens, and all its rebel peers, 
And Appenzel's stout infantry, and Egmont's Flemish spears! 
There, rode the brood of false Lorraine, the CURSES of our land ; 
And dark Mayenne was in the midst, a TRUNCHEON in his hand ; 
And-as we looked on them-we thought of Seine's empurpled flood, 
And good Coligni's hoary hair all dabbled with his blood ; 
And we cried unto the living God, who RULES the fate of war, 
To fight for His OWN holy name, and Henry of Navarre. 

The King is come to marshal us, in all his armor dressed ; 

And-he has bound a snow-white plume, upon his gallant crest. 

He looked upon his people, and a tear was in his eye; 

He looked upon the traitors, and his glance was stern and high. 

Right graciously he smiled on us, as rolled from wing to wing, 

Down all our line, a deafening shout, "God save our lord, the King!" 

"And if my standard-bearer fall — as fall full well he may, — 

For never saw I promise yet of such a bloody fray, — 

Fress-wheve ye see my white plume shine, amid the ranks of war, 

And be your oriflamme to-day the helmet of Navarre!' 

Hurrah ! the foes are moving ! Hark to the mingled din 
Of fife, and steed, and trump, and drum, and roaring culverin ! 
The fiery Duke is pricking fast across Saint Andre's plain, 
With all the hireling chivalry of Guelders and Almayne. 
Now, by the lips of those ye love, fair gentlemen of France, 
Charge for the golden lilies, — upon them with the lance! 
A thousand spurs are striking deep, a thousand spears in rest, 
A thousand knights are pressing close behind the snow-white crest ; 
And in they burst, and on they rushed, while, like a guiding star, 
Amidst the thickest carnage, blazed-ihe helmet of Navarre. 
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Now-God be praised-the day is ours ! Mayenne hath turned his rein, 
D' Aumale hath cried for quarter — the Flemish count is slain; 
Their ranks are breaking, like thin clouds before a Biscay gale ; 
The field is heaped with bleeding steeds \ a.nd fags, and cloven mail. 
And then-we thought on vengeance, and, all along our van, 
" Remember St. Bartholomew!" was passed from man to man ; 
But out spake gentle Henry, — " No Frenchman is my foe : 
Down, DOWN-with every foreigner, but let your brethren go." — 
Oh, was. there ever such a knight, in friendship or in war, 
As our sovereign lord, King Henry, the soldier of Navarre? 

Right well fought all the Frenchmen who fought for France to-day ; 

And many a lordly banner, God gave them, for a prey. 

But-7£/^ of the religion have borne us best in fight ; 

And the good Lord of Rosny hath ta'en the cornet white — 

Our own true Maximilian the cornet white hath ta'en, 

The cornet white with crosses black, the flag of false Lorraine. 

Up with it, high ; unfurl it, wide — that all the host may know 

How God hath humbled the proud house which wrought his church 

such woe. 
Then-on the ground, while trumpets sound their loudest point of war, 
Fling the red shred,-a foot-cloth meet for Henry of Navarre. 

Ho maidens of Vienna! Ho matrons of Lucerne ! — 

Weep, weep and rend your hair for those who never shall return ! 

Ho Philip ! send, for charity, thy Mexican pistoles, 

That Antwerp monks may sing a mass for thy poor spearmen's souls. 

Ho gallant nobles of the League ! look that your arms be bright ! 

Ho burghers of St. Genevieve ! keep watch and ward to-night ! 

For our God hath crushed the tyrant, our God hath raised the slave 

And mocked the counsel of the wise, and the valor of the brave. 

Then glory to His holy name, from whom all glories are ! 

And glory to our sovereign lord, King Henry of Navarre ! 

Macauley. 



SUPPOSED SPEECH OP JOHN ADAMS UPON THE 

DECLARATION OF INDEPENDENCE. 

Mr. Webster, in a speech upon the life and character of John Adams, 
imagines some one opposed to the Declaration of Independence to have 
stated his fears and objections before Congress, while deliberating on 
that subject. He then supposes Mr. Adams to have replied in language 
like the following; 

Sink or swim, live or die, survive or perish, I give my hand and 
my heart to this vote. It is true, indeed, that in the beginning we 
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SELECTIONS. 



aimed not at independence. But there is a divinity that shapes our 
ends. The injustice of England has driven us to arms ; and blinded 
to her own interest, she has obstinately persisted, till independence 
is now within our gra&p. We have but to reach forth for it and it 
is ours. 'Why then should we defer the declaration? Is any 
man so weak as now to hope for a reconciliation with England,which 
shall leave either safety to the country and its liberties, or safety 
to his own life, and his own honor. 

If we postpone independence, do we mean to carry on, or to give 
up the war? Do we mean to submit, and consent that we shall be 
ground to powder, and our country and its rights trodden down in 
the dust ? I know we do not mean to submit. We never shall 
submit ! 

The war, then, must go on. We must fight it through. And if 
the war must go on, why -put off the Declaration of Independence? 
That measure will strengthen us. It will give us character abroad. 
Nations will then, treat with us, which, they never can do, while we 
acknowledge ourselves subjects in arms against our sovereign. 
Nay, I maintain that England herself, will sooner treat for peace 
with us, on the footing of independence, than consent, by repealing 
her acts, to acknowledge that her whole conduct towards us has 
been a course of injustice and oppression. 

If ire fail, it can be no icorse for us. But, we shall not fail. The 
cause will raise up armies ; the cause wiil create navies. The people, 
the people — if we are true to them — will cirry us, and will carry 
tlu-mselves gloriously through this struggle. I cure not how fickle 
ot her people has been found. I know the people of these colonies ; 
and, 1 know that resistance to British aggression, is deep and set- 
tled in their hearts, and cannot be eradicated. Sir, the Declaration 
of Independence will inspire the people with increased courage. 
Instead of a long and bloody war for the restoration of privileges, 
for redress of grievances, for chartered immunities, held under a 
Briti-h king, set before them, the glorious object of Entire indepen- 
dence, and it will breathe iuto them anew the spirit of life. 

Reid this declaration at the he id of the army ; every sword will 
be drawn from its scabbard, and ihe solemn vow uttered to maintain 
it, or perish on the bed of honor. Publish it from the pulpit; 
religion icill approve it, and the love of religious liberty will cling 
around it, resolved to stand with it, or fall with it. Send it to the 
public halls; proclaim it there ; let them see it, who saw their brothers 
and their sons fall on the field of Bunker Hill, and in the streets 
of Lexington and Concord, and the very walls will cry out in its 
support. 

Sir, I know the uncertainty of human affairs, but, I see, I see 

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clearly through this clay's business. You and I, indeed, may rue it. 
We may not live to the time when this declaration shall be made 
good. We may die, die colonists; die slaves; die, it may be igno- 
miniously, and on the scaffold. Be it so. Be it so. It it be the 
pleasure of Heaven that my country shall require the poor offering 
of my life the victim shall be ready at the appointed hour of sacri- 
fice — come when that hour may. But — while I do live, let me have 
a country, or at least a hope of a country, and that a free country. 

But whatever may be our fate, be assured, be as*und, that this 
declaration will stand It may cost treasure, it may cost blo^d; but 
it will stand, and it will richly compensate for both. Through the 
thick, gloom of the present, I see the brightness of the future, as the 
sun in heaven. We shall make this & glorious, an immortal day. 
When we are in our graves, our children will honor it. They will 
celebrate it with thanksgiving, with festivity, with bonfires, and illu- 
minations. On its annual return, they will shtd tears, copious, gush- 
ing tears; not of subjection and slavery, not of agony and distress, 
but of exultation, of gratitude, and of joy. 

Sir, before God, I believe the hour is come. My judgment ap- 
proves the measure, and my whole heart is in it. All that I have, 
and all that I am, and all that I hope ia this life, I am now ready 
to stake upon it ; and I leave off as I began, that, live or die, survive 
or perish, /am for the declaration. It is my living sentiment, and 
by the blessing of God, it shall be my dying sentiment — Indepen- 
dence now, and Independence forever. — Daniel Webster. 

The following selection, Marino Faliero, 
act v, scene in, offers fine practice for the voice 
almost throughout its entire range and qualities; 
from the narrative through the explosive oro- 
tund, guttural and aspirate, with transitions well 
marked, 



So, now-the Doge-is nothing,-and at last 

I am again — Marino Faliero : 

Tis well-to be so,-though but for a moment. 

Here was I crown'd, and here, — bear witness, Heaven I 

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With how much more contentment I resign 
That shining mockery, the ducal bauble, 
Than I received the fatal ornament. 

ONE OF THE TEN. 

Thou tremblest, Faliero ! 

DOGE. 

'Tis with age, then. 

BENINTENDE. 

Faliero ! hast thou aught further to commend, 
Compatible with justice, to the senate? 



I would commend my nephew to their mercy, 
My consort to their justice y for methinks 
My death, and such a death, might settle all 
Between the state and me. 

BENINTENDE. 

They shall be cared for ; 
Even notwithstanding thine unheard-of crime. 



Unheard oil — Aye, there's not a history 
But shows a thousand crown'd conspirators 
Against the people ; but to set them free 
One sovereign, only, died, and one is dying. 

BENINTENDE. 

And who are they who fell in such a cause ? 



The King of Sparta, and the Doge of Venice- 
Agis and Faliero ! 

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PHILOSOPHIC ELOCUTION. 



BENINTENDE. 

Hast thou more 
To utter or to do ? 

DOGE. 

May I speak ? 

BENINTENDE. 

Thou may'st; 
But recollect, the people are without, 
Beyond the compass of the human voice. 



I speak to Time and to Eternity, 

Of which I grow a portion, not to man. — 

Ye elements ! in which to be resolved 

I hasten, let my voice be as a spirit 

Upon you ! Ye blue waves ! which bore my banner ! 

Ye winds! which flutter 1 d o'er as if you loved it, 

And fill'd my swelling sails, as they were wafted 

To many a triumph! Thou, my native earth, 

Which I have filed for, and thou, foreign earth, 

Which drank this willing blood from many a wound! 

Ye stones, in which my gore will not sink, but — 

Reek up to Heaven ! Ye skies, which will receive it ! 

Thou sun ! which shinest on these things, and Thou! 

Who kindlest and who quenchest suns ! — Attest! 

I am not innocent — but are these guiltless ? 

I perish, but-not unavenged \—far ages 

Float up from the abyss of time to be, 

And show these eyes,-before they close, -the doom 

Of this proud city,-and-I leave my curse 

On her and hers for ever : Yes, the hours 

Are silently engendering of the day, 
When she, who built 'gainst Attila a bulwark, 
Shall yield, and bloodlessly and basely yield 
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SELECTIONS. 



Unto a bastard Attila, without 

Shedding so much blood in her last defence 

As these old veins, oft drain'd in shielding her, 

Shall pour in sacrifice. She shall be bought 

And sold, and be an appanage to those 

Who shall despise her! — She shall stoop to be 

A province for an empire, petty town 

In lieu of capital' with slaves for senates, 

Beggars for nobles, panders for a people ! 

Then, — when the Hebrews in thy palaces, 

The Hun in thy high places, and the Greek 

Walks o'er thy mart, and smiles on it for his / 

When thy patricians beg their bitter bread 

In narrow streets, and in their shameful need 

Make their nobility a plea for pity ! 

When all the ills of conquer'd states shall cling thee, 

Vice" without splendour, sin without relief 

Even from the gloss of love to smooth it o'er, 

But in its stead course lusts of habitude, 

Prurient yet passionless, cold studied lewdness, 

Depraving nature's frailty to an art; — 

When these-and more are heavy on thee, when 

Smiles without mirth, and pastimes without pleasure, 

Youth without honor, age without respect, 

Meanness and weakness, and a sense of woe 

'Gainst which thou wilt not strive, and dar'st not 

murmur, 
Have made thee last, and worst of peopled deserts ; 
Then. -in the last gasp of thine agony, 
Amidst thy many murders, -think of mine / 
Thou den of drunkards with the blood of princes ! 
Gehenna of the waters ! thou sea Sodom ! 
Thus I devote thee to the infernal gods / 
Thee and thy SERPENT SEED ! 



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PHILOSOPHIC ELOCUTION. 



DISCIPLINE. 



A block of marble caught the glance of Buonarotti's eye, 
Which brightened in its solemn deeps like meteor lighted sky, 
And one who stood beside him listened smiling, as he heard, 
»« Yes— I will make an angel of it " — was the sculptor's word. 

II. 

So mallei soon and chisel sharp the stubborn block assailed 
And blow by blow and pang by pang the prisoner unveiled. 
A brow, was lifted, high and pure, the waking eyes outshone; 
And as the master deftly wrought a smile broke through the stone. 

III. 

Beneath the chisel's edge, the hair, escaped, in floating rings ; 
And plume by plume, was slowly freed the sweep of half furled wings. 
The stately bust and graceful limbs their marble fetters shed 
And where the shapeless block had been an angel stood instead. 

IV. 

O blows that smite ! O hurts that pierce this shrinking heart of mine ! 
What are ye but the Master's tools, forming a work divine. 
O ! hope that crimibles at my feet ! O joys that mock and fly ! 
What are ye, but the clogs that hold my spirit from trie sky. 
Sculptor of Souls! I lift to Thee encumbered heart and hand; 
Spare not the chisel ; set me free, however dear the bands. 



THE RELIEF OP LUCKNOW. 

Oh, that last day, in Lucknow fort ! 

We knew that it was the last ; 
That the enemy's lines crept surely on, 

And the end was coming fast. 

To yield to that foe meant worse than death, 
And the men and we all worked on ; 

It was one day more of smoke and roar, 
And then, it would all be done. 
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There was one of us, a corporal's wife, 
A fair, young, gentle thing, 

Wasted with fever in the siege, 
And her mind was wand 



She lay on the ground, in her Scottish plaid, 
And I took her head on my knee ; 
" When my father conies hatne frae the pleugh. ," she said, 
" O, then please wauken me." 

She slept, like a child on her father's floor 

In the flicking of woodbine shade, 
When the house-dog sprawls by the open door, 

And the mother's wheel is stayed. 

It was smoke and roar and powder -stench. 

And hopeless waiting for death ; 
And the soldiers wife, like a fall-tired child, 

Seemed scarce to draw her breath. 

J sank to sleep, and, I had my dream 

Of an English village lane, 
And wall and garden ; but, one wild scream 

Brought me back to the war again. 

There, Jesse Brown stood, listening, 

'Till, a sudden gladness broke 
All over her face ; and she caught my hand 

And drew me near as she spoke : 

4 The Highlanders I O, dinna ye hear 
The slogan far awa ' ? 
The McGregor's ; O ! I ken it weel ; 
It's the grandest d* them a) ! 



1 God bless the bonny Highlanders ! 

We're saved ! we're saved ! " she cried, 
And fell on her knees, and thanks to God 
Flowed forth like a full flood-tide. 

Along the Battery-line her cry 

Had fallen among the men, 
And they started back ; — they were there to die; 

But, was life so near them, then? 

They listened for life— the rattling fire 

Far off, and the/<zr off roar, 
Were all, and the colonel shook his head, 

And they turned to their guns once more. 
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But Jessie said : " The slogan's done ; 

But, winna ye hear it noo ; 
The Campbells are comin ' ! it's no a dream; 

Our succors hae broken through! " 

We heard the roar and the rattle afar, 

But the pipes we could not hear ; 
So, the men plied their work of hopeless war, 

And knew that the end was near. 

It was not long ere it made its way — 

A thrilling, ceaseless sound; 
It was no noise from the strife afar, 

Or the sappers under ground. 

It was the pipes of the Highlanders ! 

And now they played "AiM Lang Syne;" 
It came to our men, like the voice of G-od, 

And they shouted along the line. 

And they wept, and they shook one another's hands, 

And the women sobbed, in a crowd ; 
And every one knell down where he stood, 

And we all thanked God aloud. 

That happy time, when we welcomed them. 

Our men put Jessie first; 
And the general gave her his hand, and cheers 

Like a storm from the soldiers burst. 

And the pipers' ribbons and tartan streamed, 

Marching round and round our line, 
And our joyful cheers were broken with tears, 

As the pipers played u Auld Lang Syne" 

— Robert Lowell. 



JANE CONQUEST. 

I. 

About the time of Christmas— not many months ago — 
When the sky was black with wrath and rack, 

And the earth was white with snow, 
When loudly rang the tumult of winds and waves at strife, 

In her home by the sea, with her babe, on her knee, 
Sat Harry Conquests wife. — 

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SELECTIONS. 



And he was on the ocean, although she knew not where, 

For never a lip could tell of the ship, 
To lighten her heart's despair. 

And her babe seemed fading, dying ; the pulse in the tiny wrist 
Was all but still, and the brow was chill, 

And pals as the white sea mist. 
Jane Conquest's heart was hopeless; she could only weep and pray 

That the Shepherd mild would take her child, 
Without a pain, away. 

n. 

The night was dark and darker, the storm grew stronger still, 

And, buried in deep and dreamless sleep, 
Lay the hamlet under the hill. 

The fire was dead on the hearthstone within Jane Conquest's room, 
And still sat she, with her babe on her knee, 

At prayer, amid the gloom. 
When, borne above the tempest, a sound fell on her ear, 

Thrilling her through, for well she knew 
'Twas the voice of mortal fear. 

And a light leaped in at the lattice, sudden and swift and red, 
Crimsoning all, the whited wall, 

And the floor, and the roof o'erhead. 

III. 

For one brief moment, heedless of the babe upon her knee, 

With the frenzied start of a frightened heart, 
Upon her feet rose she 

And, through the quaint old casement, looked out upon the sea ; — 
Thank God, that the sight she saw that night 

So rare a sight should be! — 
Hemmed in by many a billow with mad and foaming lip, 

A mile from shore, or hardly more, 
She saw a gallant ship, 

Aflame from deck to topmast, aflame from stem to stern; 
For there seemed no speck on all that wreck 

Where the fierce tire did not burn : 
'Till the night was like a sunset, and the sea like a sea of blood, 

And the rocks and the shore were bathed all o'er 
And drenched with the gory flood. 

IV. 

She looked and looked, till the terror went creeping through every 
limb, 
And her breath came quick, and her heart grew sick, 
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PHILOSOPHIC ELOCUTION. 



And her sight grew dizzy and dim ; 

And her lips had lost their utterance, for she tried but could not 
speak ; 
And her feelings found no channel of sound 

In prayer, or sob, or shriek. — 
Once more that cry of anguish thrilled through the tempest's strife, 

And it stirred again in heart and brain 
The active thinking life ; 

And the light of an inspiration leaped to her brightened eye, 
And on lip and brow was written now 

A purpose pure and high. 



Swiftly she turns— and softly she crosses the chamber floor, 

And faltering not, in his tiny cot, 
She laid the babe she bore. 

A lowly prayer, in the silence there, 

And this was the prayer she prayed : 
" O Christ ! who didst bear the scourging and who now dost wear 
the crown, 

I at Thy feet, O True and Sweet! 
Would lay my burden down. 

Thou bad'st me love and cherish the babe Thou gavest me, 
And-I have kept Thy word, nor stept 

Aside from following Thee. 
And lo ! my boy is dying ! and vain is all my care ; 

And my burden's weight is very great, 
Yea, greater than I can bear ! 

O Lord, Thou know'st what peril doth threat these poor men's 
lives, 
And I, a woman, most weak and human, 

Do plead for their waiting wives. 
Thou can'st not let them perish; up, Lord, in Thy strength and 
save 

From the scorching breath of this terrible death 
On this cruel winter wave. 

Take Thou my babe and watch it, no care is like to Thine; 
And let Thy power, in this perilous hour, , 

Supply what lack is mine." 

YI. 

And so her prayer she ended, and rising to her feet, 

Gave one long look at the cradle nook 
Where the child's faint pulses beat ; 

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And then with softest footsteps retrod the chamber floor, 
And noiselessly groped for the latch, and oped, 

And crossed, the cottage door. 
And through the tempest bravely Jane Conquest fought her way, 

By snowy deep and slippery steep 
To where her duty lay. 

And she journeyed onward, breathless, and weary, and sore and 
faint, 
Yet forward pressed, with the strength, and the zest, 

And the ardor of a saint. 
Solemn, and weird, and lonely, amid its countless graves, 

Stood the old, gray church — on its tall rock perch, — 
Secure from the sea and its waves ; 

And beneath its sacred shadow lay the hamlet safe and still ; 
For, however the sea and the wind might be, 

There was quiet, under the hill. 

VII. 

Jane Conquest reached the churchyard, and stood by the old church 
door, 
But, the oak was tough and had bolts enough, 
And her strength was frail and poor; 
So she crept through a narrow window, and climbed the belfry 
stair, 
And grasped the rope, — sole cord of hope, — 

For the mariners in despair. 
And the wild wind helped 7ier bravely, and she wrought with an 
earnest will, 
And the clamorous bell spoke out right well 
To the hamlet under the hill. 
And it roused the slumbering fishers, nor its warning task gave 
o'er 
Till a hundred fleet and eager feet 

Were hurrying to the shore 
And then it ceased its ringing, — for the woman's work was done, — 

And many a boat that was now afloat 
Showed mail" s work had begun. 

VIII. 

But, the ringer in the belfry lay motionless and cold, 

With the cord of hope, — the church-bell rope, — 
Still in her frozen hold. 
How long she lay it boots not, but, she woke from her s vvoon at 
last, 

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In her own bright room, to find the gloom, 

And the grief, and the peril past, 
With a sense of joy within her, and the Christ's sweet presence near; 

And friends around, and the cooing sound 
Of her babe's mice in her ear. 



IX. 

And they told her all the story, how a brave and gallant few 

O'ercame each check, and reached the wreck, 
And saved the hopeless crew. 

And, how the curious sexton had climbed the belfry stair, 
And of his fright when, cold and white, 

He found her lying there ; 
And how, when they had borne her back to her home again, 

The child she left with a heart bereft 
Of hope, and weary with pain, 

Was found within his cradle in a quiet slumber laid ; 
With a peaceful smile on its lips the while, 

And the wasting sickness s ' 



And she said, " 'Twas the Christ who watched it, 
And brought it safely through ; " 

And she praised His truth 

And His tender ruth 
Who had saved her darling too. 



SEARCHING FOR THE SLAIN. 

Bold the lantern aside, and shudder not so ; 
There's more blood to see than this stain on the snow; 
There are pools of it, lakes of it, just over there, 
And fixed faces, all streaked, and crimson-soaked hair, 
Did you think, when we came, you and I, out to-night 
To search for our dead, yon would be a fair sight ? 

You're his wife ; you love him — you think so ; and / 
Am only his mother. My boy shall not lie 
In a ditch with the rest, while my arms can bear 
His form to a grave that mine own may soon share. 
So, if your strength fa'ils, best go si't by the he'arth, 
While his mother-alone-seeks his bed on the earth. 
226 



SELECTIONS. 



You will go'? Then no faintings ! Give me the light, 

And follow my footsteps, — my heart will lead right. 

Ah, God ! what is here ? — a great heap of the slain, 
All mangled and gory ! — what horrible pain 
These beiDgs have died in ! — Dear mothers, ye weep, 
Ye weep, oh, ye weep o'er this terrible sleep ! 

More ! more! Ah ! I thought I could nevermore know 
Grief, horror, or pity, for aught here below, 
Since I stood in the porch and heard his chief tell 
How brave was my son, how he gal antly fell. 
Did they think I cared then-to see officers stand 
Before my great sorrow, each hat in each hand ? 

Why, gi'rl, do you feel neither re'verence nor fri'ght, 
That your red hands turn over toward this dim light 
These dead me'n that sta're so' ? Ah, if you had kept 
Your senses this morn ere his comrades had left 
You had heard that his place was worst of them all, — 
Not 'mid the stragglers, — where he fought he would fail. 

There's the moon through the clouds !— O Christ what a scene ! 

Dost Thou from Thy heavens o'er such visions lean, 

And still call this curs'd world a footstool of Thine ? 

Hark, a groan ! there another, — here in this line 

Piled close on each other ! Ah. — here is the flag, 

Torn, dripping with gore; — bah ! they died for this rag. 

Here's the voice that we seek— poor soul, do not start; 

We're women, not ghosts. What a gash o'er the heart ! 

Is there aught we can do ? A message to give 

To any beloved one ? I swear, if I live, 

To take it for sake of the words my boy said, 

11 Home," "mother," "wife," ere he reeled 'mong the dead. 

But, first — can you tell where his regiment stood ? 

Speak, speak, man, or point; 'twas the Ninth. Oh, the blood 

Is choking his voice ! What a look of despair ! 

Time— lean on my knee, while I put back the hair 

From eyes so fast glazing. Oh, my darling, my own ! 

My hands were both idle when you died — alone. 

He's dying— he's de v ad ! — Close his lids, let us go. 
God's peace on his soul ! — If we only could know 
Where our own dear one lies ! — My soul has turned sick ! — 

227 



PHILOSOPHIC ELOCUTION. 



Must we crawl o'er these bodies that lie here so thick ? 
1 cannot! I cannot! — How eager you are ! w 

One might think you were nursed on the red lap of War. 

He's not here, — and not here. Wliat wild hopes flash through 

My thoughts, as foot-deep I stand in this dread dew, 

And cast up a prayer to the blue quiet sky ! 

Was it you, girl, that shrieked? Ah ! — What face doth lie 

Upturned toward me there, so rigid and white ? 

O God, my brain reels ! 'Tis a dream. — My old sight 

Is dimmed with these horrors. My son ! oh, my son ! 
Would 1 had died for thee, my own, only one ! 
There, — lift off your arms ; — let him come to the breast 
Where first he was lulled, with my soul's hymn, to rest, 
Your heart never thrilled to your lover's fond kiss 
As mine to his baby -touch! — Was it for this ? 

He was yours, too ; he loved you ? Yes, v yes, N you're s right. 

Forgive me, my daughter, I'm maddened to night. 

DorM moan so, dear child ; you're young, and your years 

May still hold fair hopes ; but — the oid-die-of tears. 

Yes, take him again ; — ah ! don't lay your face there ; 

See, — the blood from his wound has stained your loose hair. — 

How quiet you are! — Has she fainted? — Her cheek 
Is cold as his own. Say a word to me, — speak ! 
Am I crazed ? Is she dead ? Has her heart broke first ? 
Her trouble was bitter, but sure mine is worst. — 
I'm afraid, I'm afraid, all alone with these dead; 
Those CORPSES ARE STIRRING; God help my poor 
head ! — 

I'll sit — by my children — until — the men come 
To bury — the others — and then — we'll go home. — 
Why, the slain are all dancing !— Dearest, don't move. — 
Keep away from my boy ! he's guarded by love ! 
Lullaby, lullaby; sleep, sweet darling, sleep; 
God and thy mother will watch o'er thee keep. 



DICKENS IN CAMP. 

Above the pines the moon was slowly drifting, 

The river sang below ; 
The dim Sierras, far beyond, uplifting 

Their minarets of snow. 
228 



SELECTIONS. 



The roaring camp fire, with rude humor, painted 

The ruddy tints of health 
On haggard face and form, that drooped and fainted 

In the fierce race for wealth ; 

Till one arose, and from his pack's scant treasure, 

A hoarded volume drew, 
And cards were dropped from hands of listless leisure, 

To hear tlxe tale anew ; 

And then, while round them shadows gathered faster, 

And as the firelight fell, 
He read aloud the book wherein the Master 

Had writ of " Little Nell." 

Perhaps 'twas boyish fancy, — for the reader 

"Was youngest of them all, — 
But, as he read, from clustering pine and cedar 

A silence seemed to fall ; 

The fir trees, gathering closer in the shadows, 

Listened in every spray, 
While the whole camp with " Nell," on English meadows 

Wandered and lost their way. 

And so, in mountain solitudes — o'ertaken 

As by some spell divine — 
Their cares dropped irorn them, like the needles shaken 

From out the gusty pine. 

Lost is that camp, and wasted all its fire ; 

And he who wrought that spell, — 
Ah, towering pine and stately Kentish spire, 

Ye have one tale to tell ! 

Lost is that camp ! but, let its fragrant story 

Blend with the breath that thrills 
With hop-vines' incense all the pensive glory 

That JUls the Kentish hiUs. 

And on that grave where, English oak and holly 

And laurel wreaths intwine, 
Deem it not at all a too presumptuous folly, 

This spray of Western pine 

BRET HARTE. 



PHILOSOPHIC ELOCUTION. 



THE BOYS. 

Addressed to the class of 1829, in Harvard College, some thirty years 
after their graduation. 

Has there any old fellow got mixed with the boys? 
If there Ins, take him out, without making a noise. 
Hang the almanac's cheat and the catalogue's spite ! 
Old Time is a liar! we're twenty to-night ! 

We're twenty ! We're twenty! Who says we are more ? 
He's tipsy,— young jackanapes ! — show him the door ! 
" Gray temples at twenty ? " — Yes ! white if you please ; 
Where the snow-flakes fall thickest there's nothing can freeze ! 

Was it snowing I spoke of? Excuse the mistake ! 
Look dose you will see not a sign of a flake ! 
We want some new garlands for those we have shed, 
And these are white roses in place of the red. 

We've a trick, we young fellows, you may have been told, 
Of talking (in public) as if we were old • 
That boy we call " Doctor," and this we call " Judge ; " 
It's a neat little fiction, — of course it's all fudge. 

That fellow's the " Speaker," the one on the right; 
'' Mr. Mayor," my young one, how are you to night ? 
That's our " Member of Congress," we say when we chaff; 
There's the " Reverend " — what's his name ? — don't make me laugh. 

That bov with the grave mathematical look. 
Made believe he had written a wonderful book, 
And the Royal Society thought it was true! 
Sj they chose him right in, — a good joke it was, too ! 

There's a boy, we pretend, with a three-decker brain, 

That could harness a team with a logical chain ; 

When he spoke for our manhood in syllabled fire, 

We called him " The Justice," but now he's the " Squire." 

And there's a nice youngster of excellent pith ; 
Fate tried to conceal him by naming him Smith ; 
But, he shouted a song for the brave and the free, — 
Just read on his medal, " My country," " of thee !" 
230 



SELECTIONS. 



You hear that boy laughing f You think he's all fun; 
But the angels laugh, too, at the good he has done ; 
The children laugh loud as they troop to his call, 
And the poor man that knows him laughs loudest of all! 

Yes, we're boys,— always playing with tongue or with pen ; 
And I sometimes have asked, Shall we ever be men? 
Shall we always be youthful, and laughing, and gay, 
Till the last dear companion drops smiling away? 

Then liere's to our boyhood, its gold and its gray ! 
The stars of its winter, the dews of its May ! 
And, when we have done with our life lasting toys, 
Dear Father, take care of Thy children, The Boys ! 

OLIVER WENDELL HOLMES. 



AUX ITALIENS. 

At Paris it was, at the opera there ; 

And she looked like a queen in a book that night, 
With the wreath of pearl in her raven hair, 

And the brooch on her breast so bright. 

Of all the operas that Verdi wrote, 
The best, to my taste, is the Trovator6 ; 

And, Mario can soothe, with a tenor note, 
The souls in purgatory. 

The moon on the tower, slept soft as sno w ; 

And who was not thrilled in the strangest way, 
As we beard him sing, while the gas burned low, 

" Non ti scordar di me? " 

The emperor there, in his box of state, 
Looked grave ; as if he had just then seen 

The red flag wave from the city gate, 
Where his eagles in bronze had been. 

The empress, too, had a tear in her eye: 

You'd have said that her fancy had gone back again, 
For one moment, under the old blue sky, 

To the old glad life in Spain. 
231 



PHILOSOPHIC ELOCUTION. 



Well ! there, in our front-row box, we sat 

Together, my bride betrothed and I ; 
My gaze was fixed on my opera hat, 

And hers on the stage bard by. 

And both were silent, and both were sad ; — 
Like a queen, she leaned on her fall white arm, 

With that regal, indolent air she had ; 
So confident of her charm ! 

I have not a doubt sbe was thinking then 
Of her former lord, good soul that he was, 

Who died the richest and roundest of men, 
The Marquis of Carabas. 

I hope that, to get to the kingdom of heaven, 
Through a needle's eye he had not to pass ; 

I wish him well, for the jointure given 
To my lady of Carabas. 

Meanwhile, I was thinking of my first love 
As I had not been thinking of aught for years ; 

Till, over my eyes, there began to mode 
Something, that felt like tears. 

I thought of the dress that she wore last time, 
When we stood 'neath the cypress-trees, together, 

In that lost land, in that soft clime, 
In the crimson evening weather ; 

Of that muslin dress (for the eve was hot) ; 

And her warm white neck in its golden chain ; 
And her full soft hair, just tied in a knot, 

And falling loose again ; 

And the jasmine flower in her fair young breast; 

(O the faint, sweet smell of that jasmine flower !) 
And the one bird singing alone to his nest ; 

And the one star over the tower. 

I thought of our little quarrels and strife. 

And the letter that brought me back my ring ; 
And it all seemed then, in the waste of life, 

Such a very little thing ! 



SELECTIONS. 



For, I thought of her grave below the hill, 
Which the sentinel cypress-tree stands over ; 

And — I thought, " Were she only living still, 
How I could forgive her and LOVE her! " 

And I sivear, as I thought of her thus in that hour, 
And of how, after all, old things are best, 

That I smelt the smell of that jasmine flower 
Which she used to wear in her breast. 

It smelt so faint, and it smelt so sweet, 
It made me creep, and it made nie cold ! 

Like the scent that steals from the crumbling sheet 
Where a mummy is half unrolled. 

And I turned and looked ; she was sitting there, 
In a dim box over the stage ; and-dm£ 

In that muslin dress-with that full soft hair, — 
And that jasmine — in her breast ! 

1 was here, and site was there ; 

And the glittering horse-shoe curved between : — 
From my bride betrotJied, with her raven hair 

And her sumptuous scornful mien, 

To my early love, with her eyes downcast, 
And over her primrose face the shade, — 

In short, from the future back to the past, 
There was but a step to be made. 

To my early love from my future bride 
One moment I looked. Then, I stole to the door, 

I traversed tlie passage ; and, down at her side, 
I was sitting, a moment more. 

My thinking of her, or, the music's strain, 
Or something which never will be expresst, 

Had brought her back from the grave again, 
With the jasmine in her breast. 

She is not dead, and she is not wed ! 

But she loves me now, and she loved me then / 
And the very first word that her sweet lips said, 

My heart grew youthful again. 
233 



PHILOSOPHIC ELOCUTION. 



The marchioness there, of Carabas, 

She is wealthy, and young, and handsome still; 

And but for her . . . well, we'll let that pass ; 
She may marry whomever she will. 

But /will marry my own first love, 
With her primrose face, for old things are best ; 

And the flower in her bosom, I prize it above 
The brooch in my lady's breast. 

The world is filled with folly and sin, 
And love must cling where it can, I say : 

For beauty is easy enough to win ; 
But one isa't loved every day. 

And, I think in the lives of most women and men, 
There's a moment when all would go smooth and even 

If, only, the dead could find out, when 
To come back, and — be forgiven. 

Bat the smell of that jasmine flower ! 

And O that music ! and the way 
That voice rang out from the donjon tower, 

NON TI SCORDAR DI ME, 
NON TI SCORDAR DI ME ! 

ROBERT BULWER LYTTON. 



THE PARADISE BIRD. 

Hear a song that was born in the land of my birth ! — 

The anchors are lifted — the fair ship is free, 
And the shout of the mariners floats in its mirth 

'Twixt the light in the sky, and-the light on the sea. 
And this ship is a world. She is freighted with »ouls f 

She is freighted with merchandise : proudly she sails 
With the Labour that stores, and the will that controls 

The gold in the ingots, the silk in the bales. 

From the gardens of Pleasure where reddens the rose, 
And the scent of the cedar is faint on the air, 

Past the harbours of Traffic sublimely she goes, 
Man's hopes o'er the world of the waters to bear ! 
234 



SELECTIONS. 



"Where, the cheer from the harbours of Traffic is lieard, 
Where the gardens of Pleasure fade fast on the sight, 

O'er the rose, o'er the cedar, there passes a bird; 
'Tis the Paradise Bird, never known to alight. 

And, that bird, bright and bold as a Poet's desire, 

Eoams her own native heavens, the realms of her birth. 
There-she soars like a seraph, she shines like a fire, 

And her plumage hath never been sullied by earth. 
And, the mariners greet her; there's song on each lip, 

For the bird of good omen, and the joy in each eye. 
And the ship and the bird, and the bird and the ship, 

Together go forth over ocean and sky. 

Fast, fast fades the land ! far the rose-gardens flee, 

And far fleet the harbours. In regions unknown 
The ship, is alone on a desert of sea, 

And the bird, in a desert of sky, is alone. 
In those regions unknown, o'er mat desert of air, 

Down that desert of waters — tremendous in wrath— 
The storm-wind Euroclydon leaps from his lair, 

And cleaves through the waves of the ocean, his path. 

And the bird in the cloud, and the ship on the wave, 

Overtaken, are beaten about by wild gales; 
And the mariners all rush their cargo to save, 

Of the gold in the ingots, the silk in the bales. 
Lo ! a wonder, which never before hath been heard, 

For, it never before hath been given to sight ; 
On the ship hath descended the Paradise Bird, 

The Paradise Bird never known to alight ! 

The bird which the mariner bless'd, when each lip 

Had a song for the omen that gladden'd each eye, 
The bright bird for shelter had flown to the ship 

From the icrath on the sea and the wrath in the sky. 
But, the mariners heed not the bird any more. 

They are felling the masts — they are furling the sails ; 
Some are working, some weeping, and some wrangling o'er 

Their gold in the ingots, their silk in the bales. 

Souls of men are on board ; wealth of men in the hold; 

And the storm -wind Euroclydon sweeps to his prey ; 
And who heeds the bird ? " Save the silk and the gold ! " 

And the bird from her shelter the gust sweeps away! 

235 



PHILOSOPHIC! ELOCUTION. 



Poor Paradise Bird 1 on her lone flight once more 
Back again in the wake of the wind she is driven- 

To be lohelm'd in the storm, or above it to soar. 
And, if rescued from ocean, to vanish in heaven ! 

And the ship rides the loaters, and weathers thje gales : 
From the haven she nears the rejoicing is heard. 

All hands are at work on the ingots, the bales, 
Save a child, sitting lonely, who misses — the Bird I 



LADY CLARA VERE DE YSRE. 

Lady Clara Yere de Yere, 

Of me you shall not win renown: 
You thought to break a country heart 

For pastime, ere you went to town. 
At me you smiled, but, unbeguiled 

I saw the snare, and I retired : 
The daughter of a hundred Earls, 

You are not one to be desired. 

Lady Clara Yere de Yere, 

I know you proud to bear your name, 
Your pride is yet no mate for mine, 

Too proud to care from whence I came. 
Nor would I break for your sweet sake 

A heart that doats on truer charms. 
A simple maiden in her flower 

Is worth a hundred coats-of- arms. 

Lady Clara Yere de Yere, 

Some meeker pupil you must find, 
For, were you queen of all that is, 

I could not stoop to such a mind. 
You sought to prove how I could love, 

And my disdain is my reply. 
The lion on your old stone gates 

Is not more cold to you than i". 

Lady Clara Yere de Yere, 

You put strange memories in my head. 
Not thrice your branching limes have blown 

Since I beheld young Laurence dead. 



SELECTIONS. 



Oh, your sweet eyes ! your low replies ! 

A great enchantress you may be ; 
But, there was that across his throat 

Which you had hardly cared to see. 

Lady Clara Yere de Vere, 

When thus he met his mother's view, 
She had the passions of her kind. 

She spake some certain truths of you. 
Indeed I heard one bitter word 

That scarce is fit for you to hear; 
Her manners had not that repose 

Which stamps the, caste of Vere de Vere. 

Lady Clara Vere de Vere, 

There stands a spectre in your hall : 
The guilt of blood is at your door : 

You changed a wholesome heart to gall. 
You held your course without remorse, 

To make him trust his modest worth, 
And, last, you flx'd a vacant stare, 

And slew him with your noble birth. 

Trust me, Clara Vere de Vere, 

From yon blue heavens above us bent 
The grand old gardener and his wife 

Smile at the claims of long descent. 
Howe'er it be, it seems to me, 

'Tis only noble to be good. 
Kind hearts are more than coronets, 

And simple faith than Norman blood. 

I know you Clara Vere de Vere : 

You pine among your halls and towers : 
The languid light of your proud eyes 

Is loearied of the rolling hours. 
In glowing health, with boundless wealth, 

But, sickening of a vague disease, 
You know so ill to deal with time, 

You needs must play such pranks as these. 

Clara, Clara Vere de Vere, 
If Time be heavy on your hands, 

Are there no beggars at your gate, 
Nor any poor about your lands? 
237 



PHILOSOPHIC ELOCUTION. 



Oh ! teach the orphan-boy to read, 
Or teach the orphan-girl to sew, 

Pray Heaven for a human heart, 
And let the foolish yeoman go. 



HALLOWED GROUND. 

I. 

What's hallowed ground? Has earth a clod 
Its maker meant not should be trod 
By man, the image of his God 

Erect and free, 
Unscourged, by Superstition's rod, 

To bow the knee ? 

II. 

That's hallowed ground — where, mourned and missed, 
The lips repose our love has kissed : — 
But, where's their memory's mansion ? Is't 

Yon churchyard's bowers ? 
No ! in ourselves their souls exist, 

A part of ours. 

III. 

A kiss" can consecrate the ground 
Where mated hearts are mutual bound : 
The spot where love's first links were wound, 

That ne'er are riven, 
Is hallowed, down to earth's profound, 

And, up to Heaven ! 

IV. 

For, time makes all but true love old; 
The burning thoughts that then were told 
Run molten still in memory's mould ; 

And, will not cool, 
Until the heart itself be cold 

In Lethe's pool. 

238 



SELECTIONS. 



V. 

What hallows ground where heroes sleep f 
"Tis not the sculptured piles you heap ! 
In dews that heavens far distant weep 

Their turf may bloom ; 
Or, Genii twine beneath the deep 

Their coral tomb : 

VI. 

But, strew his ashes to the wind 

Whose sword or voice has served mankind — 

And is he dead, whose glorious mind 

Lifts thine on high ? — 
To live in hearts we leave behind, 

Is not to die. 

VII. 

Is't death to fall for Freedom's right ? 
He's dead alone that lacks her light I 
And murder sullies in Heaven's sight 

The sword he draws : — 
What can alone ennoble fight 1 

A noble cause ! 

VI1T. 

Give that ! and welcome War to brace 

Her drums! and rend Heaven's reeking space! 

The colors planted face to face, 

The cluirging cheer, — 
Though Death's pale horse lead on the chase, — 

Shall still be dear. 

IX. 

And place our trophies where men kneel 
To Heaven ! — but, Heaven rebukes my zeal I 
The cause of Truth and human weal, 

O God above ! 
Transfer it, from the sword's appeal 

To Peace and Love. 

X. 

Peace ! Love ! the cherubim, that join 
Their spread wings o'er Devotion's shrine ! 
Prayers sound in vain, and temples shine, 

Where they are not — 
The heart alone can make divine 

Religion. 's spot. 

239 



PHILOSOPHIC ELOCUTION. 



XL 

To incantations dost thou trust, 
And pompous rites in domes august ? 
See mouldering stones and metal's rust 

Belie the vaunt, 
That men can bless one pile of dust 

With chime or chaunt. 

XII. 

The ticking wood-worm mocks thee, man ! 
Thy temples — creeds themselves grow wan ! 
But, there's a dome of nobler span, 

A temple given 
Thy faith, that bigots dare not ban — 

Its space is Heaven ! 

XIII. 

Its roof, star-pictured Nature's ceiling, 
Where — trancing the wrapt spirit's feeling, 
And God himself to man revealing — 

The harmonious spheres 
Make music, though unheard their pealing 

By mortal ears. 

XIV. 

Fair stars ! are not your beings pure ? 
Can sin, can death, your worlds obscure ? 
Else, why so swell the thoughts, at your 

Aspect above ? 
Ye must be Heavens that make us sure 

Of heavenly love ! 

XV. 

And, in your harmony sublime, 
I read the doom of distant time : 
That man's regenerate soul from crime 

Shall yet be drawn, 
And reason on his mortal clime 

Immortal dawn. 

XVI. 

What's hallowed ground ? — 'Tis what gives birth 
To sacred thoughts in souls of worth ! 
Peace ! Independence ! Truth ! go forth 

Earth's compass round ; 
And your high priesthood shall make earth 

All hallowed ground. 

240 



SELECTIONS. 



To those who read German the following selection from 
Uhland will be found an excellent voice practice, contain- 
ing as it does so many strong vowel and diphthong sounds, 
as well as the entire range of voice through all its forms, 
qualities and action. 

pes gangers Jtfudj. 

S3 flanb in atten 3 et '* en ein Scf>lo§ fo food) unb befyr, 
SBeit glangt e3 iiber bte Sanbe bte an bay blaue 3D?ccr, 
Unb rings son buft'gen ©arten tin Miit&enret$er 5?ran$, 
jDrtnn fprangen frifc&e Siunnen in SRcgenbogenglanj. 

£)ort frt§ ctn jloljer ftb'ntg, an Sahjb unb Stegen retcf) ; 
@r fa§ nuf fetuem Sfyrone fo ftnftcr unb fo bletctj. 
£enn n?a3 pr fmnt, ift ©(fcretfett, unb wag pr bit eft, ifi 2Butt>, 
Unb mas pr fpricbj, tft ©etgel, unb »a$ pr fc&retbt, tft Slut. 

d-injr jog nacb btefem Scbjoffp Ptn eble» Sangprpaar, 
Xer Sin' in golbnen Socfcn, ber Slnbre gran son £>aar; 
£pr a(tP ntit ber £arft\ ber fa§ anf fdnnitcfcm 9to§, 
(£3 fc^ritt iljm fvifd) jur Sette ber blitt)cnbe ©enofL 

£er 21lte fpradj sunt 3ungen: „9fim fet bereft mein 3ofjn! 
£)enf unfrer tiefften Sieber, ftimm nn ten sollften Son ; 
9?tmm alle toft jufantmen, bie Suft unb aucfo ben ©camera L 
£$ gilt un$ fyeut ju nifyren be3 -ftb'nigo freinent £>erj. " 

<2djon ftebn bte beiben Sanger tm Robert eaulenfaal, 
Unb anf bcm Sftronc ftfien bpr 5eb'ntg unb fetn ftjemabl; 
£er ftb'nig furcbtbar pracbtig roip blufger 9corbli$tfcbeitt, 
£)ie ^onigtnn fu§ unb nttlbe, al$ blicfte 23o(lmonb bretn. 

Ta fcfylug bpr ®rei3 bte fatten, er fcblug ftc founbersoCl, 
5Dfljj reiser, tmtner retcber ber $lang jum Dtyre fcbrcoll, 
Tann ftrbntte rjimmlifcb belle beS ^ungltngS ©timme sot, 
*£)tv 9Uten (Sang bajtstfc^en role bumpfcr ©eiftcrcbor, 

(Ste ftttgen son 2enj unb Siebe, son fefger golbuer ^tit 
Son greifyeit, SDJanttertourbe, son JXreu unb £ciligfeit, 
@te ftttgen son aflent ©tigen, toaS ^enfcbenbruft burcbbebt, 
<5h ftngen son allem ^ofjen, was 2Q?enfcb,ent)erj ert)ebt. 

241 



PHILOSOPHIC ELOCUTION. 



•Die £oflinggf$aar tm Sreife tterlernet jeben ©pott, 
£)eg SonigS tro|3'ge JTrieger fie beugen ft$ »or ©ott, 
X)te Sbniginn, jerfloffen in SBefymutf) unb in £ufr, 
©ie roirft ten tangent nieber Die 3ft ofe »on ifyrer 23rujr. 

„3^r fyabt mein Self ioerfu&ret, uerlocft ifyr nun mem 2Bei6 ?" 

3Der Sonig [ti&reit es mittfyenb, er bebt am ganjen ?eib, 

(£r toirft fetn ©cbtoert, bag bli&enb beg 3iinglingg Srufi bur<$brtngt, 

£)raug, ftatt ber golbnen Nieber, ein SBlutflra^l tyocfcauf fpringt. 

Unb tm'e fcom (Sturm ^erftoben i\t all ber £>iirer ©cfyttarm, 
3Der bungling l)at serrb'cbelt in feineg Tlti\tex$ Hxm, 
£)er fcfolagt urn iijn ben Mantel unb fe$t itm auf bag JKo§, 
<£r binb't i&n aufre^t fefre, oerlajjt mit ii)m bag Scblo§. 

Docb »or bem tyo&cn £i)ore, ba Ijalt ber ©angergreig, 

Da fa§t er feine £arfe, fie alter -£>arfen $reig ; 

Sin einer SDfarmorfaule, ba feat er fie jerfcljelU, 

£>ann ruft er, bap eg fcjjaurig burd; ©4>lo§ unb ©arten geflt : 

„2Bet)' eu$, t&r ftoljen fallen ! nie tone fiijjer Slang 
Durcb eure Dannie wiebcr, nie <5aite nocb ©efang, 
3?ein, <5eufjer nur unb <5tbt)nm unb febeuer (sflattenfcfcritt/ 
23tg eucb ju @$utt unb 9?fober ber 3?acf)egeijt gertrttt ! 

2Be§ eu$, if)r buft'gen ©arten im fyolben 9ftaienli$t! 
(Sucb aeig' icb btefeg £obten entftellteg 2Ingefi$t, 
£a§ ifyr barob yerborret, ba§ jeber Quell aerjiegt, 
£a§ ii)x in fiinft'gen £agen serfteint, oerb'bet liegt. 

28e§ bir, t>errud)ter WoxUx, bu glud) beg ©angertfjumg ! 
Umfonft fei ad bein 3ftingen nacb Sranjen blut'gen 3ftui)mg, 
£>ein 9?ame fei sergeljen, in ero'ge 9?acbt getaucfyr, . 
(get toie ein le£teg 3ftocfyeln in leere Suft Jjer&autyt !" 

Der 2lltc fyat'g gerufen, ber £>immel fyat'g gefyort, 
£)ie 9J?auem liegen nieber, bie fallen jlnb jerftb'rt, 
9?o$ e i n e fyotie Saule jeugt son uerfc&wunbner $racjjt, 
Sludj biefe, fcfyon geborften, faun ftiirjen iiber Sftac^t. 

Hub rings, flatt buft'ger^Sarien, ein b'beg ^eibefanb : 
ilein S.aum werjireuet ^cbatten, fetn Quell burc^bringt ben Sanb, 
33eS SonigS ^amen melbet fetn Sieb, fetn ^elbenbucb ; 
SSerfnnfen unb sergeffen ! bag tjr beg ©angers glucl;. 

Subnng U^Ianb. 
242 



